UNIVERSITY  OF  CALIFORNIA,  SAN 


-IJNDERSTAND 


3  1822  02399  4395 


MUSIC 


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OBJECT-LESSO^\S  AND  ESS  AY 8. 


How  to  Understand  Music: 


ri  CONCISE  COURSE  IN 


Musical  Intelligence  and  Taste. 


TO    H-'HICH  IS  ADDED  A    PRONOUNCING    DICTIONARY  AND    CONDENSED 
ENCYCLOPEDIA   OF  MUSICAL   TERMS  AND  INFORMATION. 


By  W.  S.  B.  MATHEWS. 


CHICAGO: 
LYON    &     HEALY,    PUBLISHERS. 

1881. 


Copyright,  1880,  By  W.  S.  B.  Mathews. 


TO    MY    MOTHER, 


Whose   unwearying  Care,   inexhaustible   Patience,  and  never-pailing 
Encouragement,   Hope  and  Love,   have  many  times  enabled 

HER      son     to      overcome      DIFFICULTIES      OTHERWISE 
insurmountable,      THIS     WORK      IS     DEDI- 
CATED    AS     A    feeble    TOKEN 
OF  GRATITUDE  AND 
AFFECTION, 
BY 

The  Author. 


I 


PREFACE 


As  a  text  l)ook,  the  present  work  covers  a  new  ground.  Its  prime 
object  is  to  lead  the  student  to  a  consciousness  of  music  as  music,  and 
not  merely  as  playing,  singing,  or  theory.  It  begins  at  the  foundation 
of  the  matter;  namely,  with  the  observation  of  musical  phraseology, 
the  art  of  hearing  and  folloxmng  coherent  musical  discourse.  This  oc- 
cupies the  first  two  parts,  and  covers  a  wide  range  of  topics,  as  will  be 
seen  by  reference  to  the  table  of  contents,  or  the  chapters  themselves. 

From  that  point  the  studies  take  a  different  turn,  and  lead  to  the 
perception  of  the  inner  something  which  gives  music  its  life.  That  in- 
ner life  of  music  is  imagination  and  feeling,  and  almost  the  en- 
tire remainder  of  the  work  is  taken  uj)  with  the  study  of  music  in  re- 
lation to  these,  its  Content.  These  studies,  like  those  in  the  externals 
of  music,  begin  simply,  at  the  very  line  where  form  and  content  touch. 
In  their  progress  they  take  in  review  the  principal  works  of  the  classical 
and  modern  schools,  as  will  be  seen  by  reference  to  Parts  III,  V,  VI, 
VII,  and  VIII.  The  object  of  all  this  study  is  two-fold;  first,  to  de- 
velop in  the  pupil  a  consciousness  of  the  inherent  relation  between 
music  and  feeling;  and,  second,  to  do  this  by  means  of  master-works, 
which,  of  course,  form  the  only  complete  and  authoritative  illustrations 
of  this  relation.  In  this  way  the  musical  perceptions  are  sharpened, 
the  student  is  introduced  to  the  best  parts  of  musical  literature,  and 
thereby  his  taste  and  musical  feeling  are  cultivated.  It  is  easy  to  see, 
therefore,  that  this  book  occupies  a  ground  not  previously  covered  by 
a  text  book. 

In  form,  the  chapters  are  object-lessons.  Such  and  such  works, 
or  parts  of  works,  are  supposed  to  be  played  or  sung  to  the  pupils,  who 
observe  in  them  such  and  such  peculiarities.  This  form  was  selected 
because  it  is  the  true  v.^ay  of  communicating  this  instruction,  which 
can  not  be  taken  into  the  mind  through  the  reason,  but  must  be  called 
up  within  the  mind  through  a  comparison  of  sense-impressions  with 
each  other,  and  these,  again,  with  the  feelings  which  they  awaken.  Music 
is  one  thing,  and  ideas  about  music  another.  It  is  the  design  of  this 
study  to  bring  the  pupils  to  music;  for  doing  this,  the  book  marks  out  a 

5 


6  PREFACE. 

plan,  and  furnishes  along  with  it  such  ideas  about  music  as  will  aid  the 
process. 

The  Illustrations^  or  pieces  to  be  played,  cover  a  wide  range,  es- 
pecially in  the  higher  departments,  and  the  objection  has  been  made 
that  they  are  too  difficult.  To  this  it  can  only  be  answered  that  the 
very  efssence  and  pith  of  music  is  here  in  consideration,  and  that  the 
points  in  discussion  could  be  adequately  understood  only  by  the  help 
of  these  great  works,  wherein  they  are  fully  illustrated.  It  will  be 
found  possible,  generally,  to  omit  the  most  difficult  works  in  cases  where 
there  is  no  one  to  play  the  parts  of  them  here  wanted.  In  other  cases, 
where  an  entire  lesson  turns  on  difficult  works,  it  is  safe  to  conclude 
that  if  there  is  no  one  to  play  any  part  of  them,  there  will  be  no  one 
to  understand  them,  and  the  lesson  may  be  postponed. 

In  Part  Fourth  we  have,  in  effect,  an  outline  of  ^'Esthetics.  The 
Author  believes  that  the  time  has  come  when  Art-appreciation,  and 
especially  Music,  has  much  to  gain  by  such  an  orientation  of  itself  with 
reference  to  cardinal  principles.  These  four  chapters,  naturally,  address 
themselves  t  th  mature  and  serious.  They  are  not  written  for  children, 
nor  even  for  youth.  A  work  like  this  addresses  many  adults,  ex- 
perienced teachers,  and  friends  of  music,  on  whom  a  discussion  of  this 
kind  will  not  be  lost.  Doubtless  the  execution  is  crude,  and  in  a  sub- 
sequent edition  will  be  improved;  it  is  hoped  that  the  expectation  of 
this  may  serve  to  draw  a  veil  of  charity  over  any  present  imperfection. 
The  Historical  sketches  are  merely  sketches,  and  are  in  part  re- 
printed by  permission  of  Messrs.  Biglow  and  Main,  from  the  New  York 
Musical  Gazette.  They  may  be  made  the  basis  of  lectures  or  school- 
room talks,  in  connection  with  their  Illustrations. 

The  Dictionary^  at  the  close,  affords  a  mass  of  readily  accessible 
information,  such  as  is  in  constant  demand  among  students  and  teachers, 
but  is  not  elsewhere  to  be  found  except  in  large  Encyclopedias  of  many 
volumes.  The  preparation  of  it  has  involved  much  more  labor  and  ex- 
pense than  was  anticipated*  but  its  value  for  ready  reference  is  un- 
mistakable. 


CONTENTS. 

PART  FIRST. 

LESSONS  IN  MUSICAL  PHRASEOLOGY. 

I.  Thematic  and  Lyric. — II.  Phrases  and  Periods. — III.  Cadence. — IV.  Modula- 
tion.— V.  Counterpoint  and  the  Contrapuntal  Spirit. — VI.  Variations. — VIL 
Rhythmic  Pulsation  and  Measure. — VIII.  Measure  and  Rhythmic  Motion. — 
IX.  Rhythm  and  Motivization. 

PART  SECOND. 

LESSONS   IN   MUSICAL   FORM. 

X.  Elementary  Forms.  —  Phrases  and  Periods.  —  XL  Open  and  Closed  Form?.  — 
XII.  Irregular  Period  Forms.  —  Unitary  Forms.  —  XIII.  Binary  Forms. — 
XIV.  Ternary  Forms.— The  Rondo. —XV.  The  Sonata  Piece.— XVI.  The 
Sonata  as  a  Whole. 

PART  THIRD. 

PRELIMINARY   STUDIES   IN   THE   CONTENT   OF   MUSIC. 

XVII.  Content  Defined.- XVIII.  The  Intellectual  and  the  Emotional.  — XIX. 
Passages,  Cadenzas  and  Effects.  — XX.  The  Sensuous  and  the  Idealized. — 
XXI.  Descriptive  and  Suggestive  Music. 

PART  FOURTH. 

STUDIES   IN   ART. 

XXII.  The  Ideal  and  the  Object  of  Art.  — XXIII.  The  Nature  and  Meaning  of 
the  Beautiful.— XIV.  The  Symbolic,  the  Classic,  and  the  Romantic  in  Art. 
XXV.  The  Content  and  Meaning  of  the  Different  Arts. 

PART  FIFTH. 

STUDIES   IN   CLASSICAL   MUSIC. 

XXVI.  ThePlaytul.  — XXVII.  The  Tender  and  Soulful. —XXVIIL  The  Con- 
tented  and  Jovial.  —  XXIX.  The  Earnest.— The  Sonata  as  a  Whole.—  XXX. 
The  Beautiful  in  Classic  Music,  and  the  Transition  Towards  the  Romantic. 

7 


8  CONTENTS. 

PART  SIXTH. 

•  STUDIES   IN   THE   ROMANTIC. 

XXXI.  The  Chivalrous.  — XXXII.  The  Gentle  and  Sentimental.  — XXXIII. 
The  Humoristic  and  Passionate.  —  XXXIV.  The  Fanciful  and  the  Pleasing. 
— XXXV.  The  Sensational  and  the  Astonishing. 

PART  SEVENTH. 

STUDIES   IN   SONG. 

XXXVI. — The  Formative  Influences  in  Music  Generally. — 'The  Influence  ot 
Poetry  Upon  Music,  and  the  Conditions  of  Their  Successful  Union. — 
XXXVII.  Simple  Ballads.— XXXVIII.  Recitative.  — XXXIX.  The  Aria.— 
XL.  The  Thoroughly  Composed  Song  {DurcJicoraponirte  Lied),  and  the 
Arioso.  —  XLI.  The  Opera  and  Oratorio. 

PART  EIGHTH. 

BIOGRAPUICAL   AND   MISCELLANEOUS  SKETCHES. 

XLII.  Bach.  — XLIII.  Handel.  — XLIV.  Ilavdn.- XLV.  Mozart.  — XLVI. 
Beethoven.— XLVII.  Mendelssohn.— XLVIII.  Schumann.— XLIX.  Chopin. 
—  L.  The  Piano-Forte  Virtuosi  and  Liszt.  —  LI.  Wagner,  and  the  Music  ot 
the  Future. —  LII.  Of  Programmes. —  LIII.  A  Study  in  the  Psychology  of 
Music. 

PART  NINTH. 

PRONOUNCING    DICTIONARY   AND    CONDENSED    ENCYCLOPEDIA    OP   MUSICAL  TERMS, 
INSTRUMENTS,  COMPOSERS   AND   IMPORTANT   WORKS. 

APPENDIX 

MUSICAL  NOTATION,    AND  THE   PRINCIPAL   MELODIC    EMBELLISHMENTS,  VV^ITH   THE 
PROPER   MANNER   OF    PERFORMING   THEM. 


Pak»t  First. 


LESSONS  IN  MUSICAL  PHRASEOLOGY. 


LESSOI^    FIRST. 

MOTIVES,  PHRASES  AXD   PERIODS. 

It  is  the  object  of  this  ler<son  to  lead  tlie  pupil  to  observe  the 
division  of  the  music  into  periods  and  phrases;  and  subsequently  to 
develop  a  perception  of  the  ditt'orent  modes  of  period  structure  here 
distinguished  as  thematic  and  lyric.  As  it  is  the  sole  design  of  tliis 
course  of  lessons  to  facilitate  intelligent  hearing^  the  pupils'  pow(M-s 
of  observation  are  to  be  appealed  to  from  the  start.  He  is  to'  be  clearly 
infoi'UKHl  of  wliat  he  is  expected  to  hear;  the  proper  selections  are 
then  to  be  i)layed  over  as  many  times  as  necessary  until  he  does 
observe.  Each  stage  of  the  lesson  is  to  begin  with  a  definition,  or 
explanation  of  the  phenomenon  or  peculiarity  of  music  it  is  desired 
to  observe.  Inasmuch  as  these  earliest  lessons  represent  only  the 
beo-innino-s  of  musical  discrimination,  the  definitions  in  them  will 
possess  somewhat  of  the  character  of  off-hand  approximations  to  the 
truth,  leaving  exact  statements  to  come  later,  when  the  pupils  are 
better  prepared  to  appreciate  them.  The  definitions  here  given  repre- 
sent so  much  of  the  truth  as  the  pupil  at  this  stage  is  ready  to  receive. 
As  thus: 

1,  A  passage  of  melody  tliat  makes  complete  sense  is 
called  a  Period. 

Play  the  first  three  or  four  of  the  Schubert  danses  twice  through, 
and  more,  if  necessary.  Instruct  the  class  to  say  "  Period  "  aloud  at 
the  close  of  every  period.  Do  not  let  the  playing  stop  for  them  to 
speak,  but  the  feeling  of  repose  mav  be  intensified  by  sliglitly  empha- 
sizing the  cadence,  and  perhaps  retarding  a  little,  if  found  necessary. 
As  the  period  forms  in  these  danses  are  clearly  defined,  it  will  be 
foiuid  easy  to  observe  them. 


10  HOW  TO   UNDERSTAND   MUSIC. 

Let  this  be  followed  by  No.  2  of  the  list  of  illustrations,  repeat- 
ing it  as  often  as  necessary,  the  pupils  signifying  every  period-close  by 
the  word  "  Period,"  as  before. 

No.  3,  treated  in  the  same  manner,  will  conclude  this  stage  of  the 
lesson. 

2.  A  passage  of  melody  that  makes  sense,  but  not  com- 
plete sense,  is  called  a  Phrase. 

This  topic  is  to  be  treated  in  the  same  way  as  the  previous,  the 
pupils  announcing  the  completion  of  every  phrase  by  the  word 
"  Phrase."  Begin  with  No.  3,  for  in  this  the  phrases  are  clearly 
defined.  Follow  this  by  the  next  illustration,  which  may  need  to  be 
repeated  several  times.  Then  go  back  to  No.  2  again,  for  its  phrases. 
This  may  be  followed,  if  convenient,  by  No.  5  of  the  illustrations, 
treated  separately  for  periods  and  phrases.  Then  take  up  No.  6, 
going  over  this  also  for  both  periods  and  phrases. 

3.  A  fragment  of  melody  that  is  reiterated  over  and 
over,  or  transformed  and  developed  into  a  period,  is  called  a 
Motive.     (A  motive  is  a  musical  text) 

Begin  by  playing  several  times  over  the  first  six  notes  of  No.  6, 
which  form  a  melodic  figure.  Then  play  the  various  transformations 
of  this  figure  which  occur  during  the  piece,  omitting  the  accompani- 
ment. Then  play  the  entire  first  part  of  the  Novellette  (preceding 
the  slow  melody),  and  let  tlie  pupils  observe  how  many  times  the 
melodic  figure  is  repeated.  It  will  be  seen  that  this  motive  is  the  germ 
of  the  entire  movement. 

Then  take  up  No.  7,  where  will  be  found  a  period  composed  from 
one  motive — that  contained  in  the  first  four  notes. 

Play  again  No.  3,  and  cause  it  to  be  observed  that  the  melody  there 
is  not  developed  out  of  a  single  motive,  nor  predominantly  out  of  any 
one  motive.  Thus  we  come  to  recognize  two  different  forms  of  period- 
structure.  In  one  of  them  the  periods  are  developed  mainly  from  a 
single  motive;  in  the  other  there  is  a  flowing  melody. 

4.  Music  developed  out  of  a  single  motive,  or  a  small 
number  of  motives,  is  called  Thematic,  or  motivized. 

Examples  of  this  mode  are  found  in  Nos.  6,  7,  8,  9,  and  10. 

5.  Music  not  developed  motivewise,  but  having  a  flowing 
melody,  is  called  Lyric. 


THEMATIC  AND   LYRIC.  H 

Examples  of  this  kind  are  Nos.  1,  2,  3,  4,  and  the  slow  melodies 
in   Nos.  5,  6,  and  9. 

Several  lyric  and  thematic  examples  should  be  played  one  after 
the  other  in  irregular  order,  until  the  pupils  readily  distinguish 
between  them. 

Musical   Illustkations. 

1.  Schubert  Danses  (Peters'  Ed.) 

2.  Schubert  Menuetto  in  B  miu.,  op.  78  (Peters'  Ed.  "  Schubert  Pieces). 

3.  Adagio,  from  Beethoven's  Sonata  in  F  min.,  op.  2,  No.  1  (16  measures.) 

4.  No.  1  of  Mendelssohn's  "  Sontrs  Witliout  Words"  (Peters'  Ed.  "Kullak"). 

5.  Allegro  from  Beethoven's  Sonata  in  Eb,  op.  7. 

6.  Schumann  Novellette  in  E,  op.  21,  No.  7. 

7.  Thirty-two  measures  of  Finale  of  Beethoven's  Sonata  in  D  min.,  op.  31,  No.  3. 

8.  Bach,  Two-Part  Inventions,  No.  1,  in  C  (Peters'  Ed.) 

9.  Schumann  Novellette  in  B  miu.,  op.  99. 

10.  First  movement  of  Sonata  in  F  min.,  op.  3,  No.  1,  Beethoven. 


LESSOR    SECOND. 

THEMATIC  AND  LYRIC.      CLOSER  OBSERVATION  OF  MOTIVES. 

This  lesson  jDursues  the  same  line  as  the  first,  in  order  to  bring 
the  point  out  more  clearly  in  the  pupils'  minds.  Begin  by  a  recapitu- 
lation of  that  lesson.  Play  again  the  Schumann  Novellettes  and 
Beethoven  Adagio  for  periods  and  phrases. 

Then  play  the  Novellette  in  E  clear  through,  in  order  to  call 
attention  to  the  lyric  middle  part.  Play  then  the  AdcKjio  from  Sonata 
Pathetique,  of  Beethoven,  first  for  them  to  determine  whether  it  is 
thematic  or  lyric;  then  for  phrases  and  periods. 

The  second  part  of  the  lesson  is  to  be  devoted  to  a  Bach  Prelude; 
the  one  in  B  min.  in  the  second  book  of  the  Well-tempered  Clavier 
suits  well  for  this  purpose,  especially  as  there  is  a  copy  to  be  had 
(Root  &  Sons  Music  Co.,  Chicago),  in  which  the  motives  are  numbered. 
The  immediate  purpose  is  to  recognize  the  different  motives.  This 
prelude,  e.  g.^  contains  seventeen  or  eighteen  different  motives.  Prob- 
ably the  best  way  of  securing  sharp  listening  will  be  by  first  playing 
over  a  single  motive  several  times,  in  order  to  fix  it  securely  in  the 
minds  of  the  listeners.  Then  play  the  entire  prelude,  requiring  each 
listener  to  observe  how  many  times  that  motive  occurs  in  the  course 
of  the  piece.     When  the  playing  is  done,  ask  each  one  in  turn  to  state 


12  HOW  TO   UNDERSTAND   MUSIC. 

how  many  times  the  motive  was  repeated  in  the  course  of  the  work. 
It  will  be  found  that  a  majority  of  the  class  will  have  succeeded  in 
recoo-nizing  the  motive  at  most  of  its  repetitions.  It  Avill  then  be  well 
to  play  another  motive,  and  then  go  through  the  work  again,  in  order 
to  see  how  many  times  that  one  occurs. 

Take  next,  e.  g.^  the  Bach  Two-part  Invention  in  F,  No.  8,  aiid 
T)lav  it  first  for  "Thematic  or  Lvric?"  Then  define  clearlv  the  first 
motive,  and  go  through  the  piece,  the  pupils  meanwhile  listening  to 
discover  how  many  times  that  motive  occurs  in  the  right  hand  alone ; 
then  o-o  throuo-h  it  asxain,  to  see  how  many  times  the  same  motive 
occurs  in  the  left  hand  alone.  The  object  of  this  exercise  is  to  lead 
the  pupils  to  attend  to  the  left-hand  part,  as  well  as  the  treble. 
If  there  is  time,  it  will  be  well  to  play  through  the  Schumann  Novel- 
lette  in  B  min.,^  for  the  pupils  to  count  the  number  of  times  the  leading 
motive  occurs  in  it. 

Play  again  eight  measures  of  the  Adagio  from  Sonata  Pathetique, 
in  order  to  show  that  in  lyric  music  there  is  generally  a  flowing  melody 
and  accompaniment,  and  that  the  leading  melody  is  not  to  be  found  in 
the  l)ass  or  intermediate  parts,  as  in  most  of  the  examples  of  thematic 
nuisic  thus  far  introduced. 

6.  Lyric  music  is  founded  on  the  j^eople's  song.  It  is 
simple,  natural  nuisic.  Thematic  music  represents  a  more 
active  musical  life,  and  was  j^i'iiii'irily  derived  from  the 
dance.  Excitement  finds  expression  mainly  through  the- 
matic nuisic  ;  rej^ose  through  lyric. 

Musical  Illustrations  of  Second  Lesson. 

1.  The  Schumann  Xovellettes  in  E  (op. 21,  No.  1)  and  B  min.  (op.  99), 

2.  Adagio  from  Beethoven's  Sonata  Pathetique. 

3.  Bach's  Prelude  in  B  min.,  No.  24  in  Vol.  II  of  "Clavier." 

4.  Bach's  Two-part  Invention,  No.  8. 


ON  CADENCE. 


13 


LESSOR    THIED. 


ON   CADENCE. 


7.  A  cadence  is  a  formula  of  chords  leading  to  a  close. 

Thus,  e.  </.,  in  the  key  of  C: 
Ex.  1. 


So  in  the  Icev  of  Eb: 


Ex.2. 


(Play  also  in  several  other  keys.) 

Besides  this,  which  is  called  a  Complete  cadence,  there  are  other 
cadences,  the  most  common  varieties  of  which  are  the  Half  Cadence 
and  Plagal  Cadence.  The  latter  is  the  well  known  "Amen  "  cadence 
of  church  music.  For  example,  play  No.  1,  above,  and  conclude  with 
the  following-  two  chords,  added: 


Ex.3. 


V 

JL^                ^ 

o 

\\\\               ^ 

\^  1/                (V 

■% 

%J             _ 

^ 

This  is  also  called  the  Church  Cadence. 

8.  The  complete  cadence  is  used  to  mark  the  close  of 
periods  and  imj^ortant  divisions  in  musical  compositions. 

Listen  now  to  the  Adagio  from  the  first  Beethoven  Sonata,  and 
when  I  play  a  cadence,  say  "cadence."  At  tlie  end  of  the  first  pln-ase 
there  is  a  "half-cadence."  (Play  it.)  Those  who  are  able  ma\'  also 
point  out  the  half-cadences. 

Play  also  Adagio  from  Sonata  Pathetique;  also,  Schubert  Menu- 
etto  in  B  min.,  and,  finally,  the  Adagio  in  E  from  Beethoven's  Sonata 
in  E  min.,  op.  90. 

If  there  is  any  difficulty  in  the  pupils  recognizing  the  cadences  in 


14  HOW  TO   UNDERSTAND   MUSIC. 

these  works,  it  will  be  well  to  introduce  two  or  three  pieces  of  church 
music,  for  further  practice  in  recognizing  cadences. 

Point  out,  also,  the  cadences  in  the  Bach  Invention  in  F,  No.  8, 
the  Invention  in  C,  No.  1,  and  the  Fugue  in  G  min.,  first  volume  of 
"  Clavier." 

Musical  Illustrations  of  Third  Lessox. 

1.  Adaffios  from  Beethoven's  Sonatas,  No.  1  in  F,  op.  2,  and  op.  13  in  C  min. 

2.  Adagio  from  Beethoven  Sonata  in  E,  op.  90. 
*3.  Schubert  Menuetto  in  B,  op.  78. 

4.  Bach's  Inventions  in  F  (No.  8),  and  C  (No.  1). 

5.  Bach's  Fugue  in  G  min.  (No.  IG),  from  "  Clavier,"  vol.  1. 


LESSQ]^    FOURTH. 

IMITATIVE    AND    FUGUE    FORMS. 

9.  Imitation  in  music  takes  place  when  a  second  voice 
exactly  re})eats  a  melody  or  phrase  already  heard  in  another 
voice. 

The  term  '-voice"  here  means  voice-part.  Observe,  e.g.,  the  Bach 
Invention  presently  to  follow,  and  you  will  perceive  that  it  has  only 
two  voices,  a  bass  and  soprano.  It  is  in  strict  style,  to  the  extent  that 
each  part  or  voice  contains  no  chords.  Each  part  might  be  sung  by  a 
single  voice  ;  and  two  singers,  a  bass  and  soprano,  could  sing  the 
whole  piece. 

Listen  now  to  the  right  hand  alone,  and  point  out  the  end  of  the 
first  phrase.     It  is: 


Ex.4. 


The  first  eight  notes  form  the  subject  for  imitation.  Throughout 
the  first  period  the  treble  leads,  and  the  bass  afterwards  imitates.  In 
the  seventh  measure  the  second  period  begins,  and  the  left  hand  leads. 
(Plays.)  Listen  and  see  how  many  times  the  bass  imitates  the  treble 
throughout  this  piece.     (Seven  times,  viz.:  in  measures  1,  2,  15,  16, 17, 


IMITATIVE  AND  FUGUE  FORMS. 


1^ 


18,  and  20.)  Listen  again  and  see  how  many  times  the  treble  imitates 
the  bass.     (Four  times.) 

Listen  now  to  the  Eightli  Invention,  and  see  how  many  times  the 
treble  imitates;  also  how  many  times  the  bass. 

The  subject  of  the  Fourth  Invention  is  this: 


Ex.5. 


Listen  as  it  is  played  through,  and  tell  me  how  many  times  this  subject 
is  repeated.     (Plays.) 

10.  A  fugue  is  a  composition  in  which  one  voice  an- 
nounces a  subject  or  theme,  which  is  taken  up  in  turn  by 
the  other  voices,  each  one  entering  after  the  2:)revious  has 
completed  the  subject. 

In  fugues  the  imitating  voice  does  not  enter  upon  the  same  degree 
as  the  antecedent,  nor  on  the  octave  of  it,  as  in  most  of  the  examples 
so  far  given;  but  replies  in  a  different  key,  according  to  certain  rules 
characteristic  of  this  form  of  composition.  The  voices  not  performinof 
the  subject  play  complemental  parts,  called  counter-subjects.  As  a 
first  example,  listen  to  the  following  fugue  in  G  minor,  from  Bach's 
"Well-tempered  Clavier."     The  subject  is: 


Ex.  G. 


How  many  times  is  this  melodic  figure  repeated  in  the  course  of  the 
fugue?     (Plays.) 

Are  fugues  thematic  or  lyric? 

Listen  now  to  the  Menuetto  from  Beethoven's  Sonata  in  E^-i, 
op.  31.  Is  it  thematic  or  lyric?  Observe  the  imitation  at  the  begin- 
ning of  the  second  period. 

Hear  also  the  Scherzo  from  Beethoven's  Sonata  in  C,  op.  3.  Is 
this  lyric  or  thematic?     Is  it  imitative  or  not? 

Hear  also  Schumann's  Spring  Song.  Observe  the  imitation  in 
measure  18,  where  the  alto  imitates  the  soprano  motive  in  the  seven- 
teenth measure;  also  in  measures  23  and  24,  where  the  tenor  imitates 


10  HOW  TO   UNDERSTAND  MUSIC. 

the  soprano  phrase  of  the  previous  two  measures.     (In  playing,  bring 
out  these  imitations  by  sufficient  accentuation.) 

Musical  Illustkations. 

1.  Bach's  First,  Fourth,  aud  Eighth  Inventions. 

2.  Bach's  Fugue  in  G  min.,  Chivier. 

3.  Menui'tto  from  Beethoven  Sonata  in  E5,  op.  31. 

4.  Scherzo  from  Beethoven's  Sonata  in  C,  op.  2,  No.  3. 

5.  Schumann's  Spring  Song,  from  "  Alhum  for  the  Young,"  (No.  15). 


LESSO]^    FIFTH. 

OF   COUNTERPOINT  AND   THE   CONTRAPUNTAL   SPIRIT. 

11.  The  term  "counterpoint"  means,  in  general,  any 
new  voice-part  added  to  one  already  existing. 

In  a  very  rudimentary  use  of  the  term,  it  would  be  permissible  to 
describe  the  bass  of  an  ordinary  people's  song,  like  "Hold  the 
Fort,"  as  a  counterpoint,  though,  to  be  sure,  it  is  a  very  poor  one. 
The  idea  of  counterpoint  carries  with  it  not  only  the  construction  of 
an  additional  voice  to  one  already  existing,  but  of  ?a\indep€)ident  and 
individually  distinct  voice,  and  not  of  a  mere  natural  bass.  Thus,  e.  g., 
observe  the  bass  of  "  Hold  the  Fort."  (Plays.)  You  perceive  that 
the  bass  has  properly  no  melody  or  movement  of  its  own,  but  is  all  the 
time  concerned  with  furnishing  a  proper  foundation  to  the  chords. 
Take  now,  on  the  other  hand,  E wing's  air,  "Jerusalem  the  Golden." 
(Plavs.)  Observe  the  bass,  how  freely  and  independently  it  moves, 
and  to  what  interesting  harmonies  it  gives  rise.  How  much  more 
inspiring  than  the  monotony  of  "Hold  the  Fort!"  The  bass  of 
Ewing's  "Jerusalem  the  Golden"  is  contrapuntally  conceived. 

Observe,  again,  this  Gavotte  of  Bach's;  it  is  in  D  (from  a  violin 
sonata).     In  this,  pro])erly  speaking,  we  have  little  counterpoint. 

Listen  now  to  the  following:  It  is  Bach's  Gavotte  in  D  min.  from 
one  of  his  suites.  Notice  the  bass,  and  you  will  find  that  it  has  a  steady 
rhythmic  motion  of  eighth  notes.  This  bass  has  what  is  called  "a 
contrapuntal  motion,"  and  of  that  variety  called  "two  against  one," 
tliat  is,  every  melody  note  has  two  notes  in  the  counterpoint. 


OF   COUNTERPOINT.  17 

Again,  observe  this  Invention  of  Bach's,  in  K  minor.  In  the  first 
part  there  is  no  contrapuntal  Tuotioii;  hut  with  the  second  period  it 
begins.     Observe.      (Also  referred  to  in  tlie  next  lesson.) 

Listen  now  to  this  cluxrch  tuno,  "  ])<>nnis."  Is  it  eontrapuntal 
or  not? 

Listen  to  this  Chorale.  Is  tliis  contrapuntal  or  not':'  IT  contra- 
j)untal,  in  which  part  does  the  counterpoint  lie?  (It  mav  l)e  proper  to 
say  that  the  counterpoint  in  tliis  piece  is  of  the  kind  called  "note 
against  note,"  with  occasional  "passing"  notes;  and  that  the  ]>rincipal 
counterpoint  is  the  bass.) 

Observe,  again,  the  Bach  Invention  in  E  niin.,  No.  7,  in  the  Three- 
j^ai-t  Inventions.  In  the  first  thirteen  measures  there  is  not  wliat  is 
called  a  "contrapuntal  motion."  In  the  fourteenth  measure  such  a 
"motion"  begins  in  the  bass,  and  horn  that  point  onwards  for  twenty- 
three  measures  there  is  a  contrapuntal  motion  of  sixteenth  notes, 
interrupted  only  by  the  omission  of  a  single  sixteenth  note  at  the 
beginning  of  its  twelfth  measure.  The  motive  is  transferred  from  one 
part  to  another;  for  four  measures  it  runs  in  the  l)ass,  then  for  five 
measures  it  alternates  between  the  soprano  and  alto;  it  is  then  trans- 
ferred to  the  bass  for  four  measures;  the  soprano  retains  it  during  the 
remaininof  ten  measures.  In  listenino-  to  this,  one  should  also  observe 
that  the  leading  motive  of  the  piece  is  constantly  transferred  from  one; 
kev  to  another,  and  one  voice  to  anoth(;i'. 

Counterpoint  gives  dignity  to  a  music-piece.  It  does  this  because 
it  displays  intelligence^  and  that  in  such  a  way  as  to  lieighten  tlu; 
musical  quality  of  the  piece. 

Musical  J  li.ustkations. 

1.  IMd  the   Fort.     (Any  other  jxipular  soiia;  will   do  as  well,  c.  <j..  Dr.  Lowell 

Mason's  "Work,  for  the  Night  is  C-oiiiing.") 

2.  Ewing's  "  Jerusalem  the  Golden." 

3.  Gavotte  in  D,  Bach.     (Arranged  by  Dr.  AVni.  ]\rason.) 

4.  Gavotte  iu  D  min.,  Bach.     (Pieces  Favori.s,  Bach.     Edition  Peters.) 
.■).  Bach's  Tliree-jiart  Invention  in  E  niiii.,  No.  7.     (I'eters.) 

G.  (Mun-ch  Tune,  "  Dennis." 

7.  Chorale,  "  8t.  Paul,"  "Sleepers,  Wake." 


IS  HOW  TO    UNDERSTAND   MUSIC. 


LESSOI^     SIXTH. 


VARIATIONS. 


The  lesson  to-dav  beo-ins  with  the  foHowiiio-  niv  Iroin  the  Andante 
of  Beethoven's  Sonata  in  G,  op.  14.  TJiis  will  be  played  twice  in  order 
to  lix  it  in  your  memory.     (Plays  twenty  measures.) 

Observe  now  the  followinar  strain  and  see  if  it  has  anv  resemblance 
to  the  previous.     (Plays  the  next  ensuing  twenty  measures.) 

In  what  respect  is  this  like  the  air  at  beginning-?  Listen  now  to 
the  harmony  of  the  first  eight  measures.     (Plays  as  before.)  ■ 

Hear  also  this,  the  harmony  of  the  first  ei"-ht  of  the  sixteen  meas- 
lu'es  last  played. 


Ex.  7. 


I        I       I       I         III 
d ^ ^ 4^ «i d c*, 


E=3:e3 


—I 


$ 


^ 


It  will  be  seen  that  they  are  exactly  the  same,  except  that  the 
melody  is  now  in  a  middle  voice. 

Observe  now  the  melody  of  the  first  eight  measures.  (Plays  again 
eight  meas.  of  air.)  And  the  melody  of  the  eight  measures  j^layed  after- 
wards. You  perceive  that  the  melody  is  the  same,  although  in  the 
latter  case  it  is  assigned  to  the  tenor.  The  accompaniment,  however, 
is  considerably  elaborated,  and  comes  above  the  melody;  the  time  also 
is  cut  up  into  half  and  quarter  beats.  We  have  here  a  variation  in  the 
form  of  the  air.  The  melody  and  harmony  are  the  same;  merely  the 
form  of  them  is  changed  without  imparting  any  essentially  new  mean- 
ing to  the  air.  Observe  now  the  second  variation  of  the  same  air. 
(Plays.)  In  this  you  hear  the  melody  in  the  soprano,  but  entering- 
always  on  the  half-beat.  When  it  is  played  on  the  beat  you  at  once 
recognize  it.  (Plays  aij-  in  simple  form.)  This,  also,  as  you  see  is 
merely  a  variation  in  the  form.  The  harmony  and  melody  are  the  same 
as  before,  and  there  is  therefore  no  new  meaning  except  such  as  is  derived 
from  or  denoted  by  the  increasing  animation  and  complexity  of  rhyth- 
mic motion. 


VARIATIONS. 


19 


The  next  variation  is  a  little  more  elusive  in  character.     It  besrins: 


Ex.  8. 


RZ5 «2' 


— 6 — \-» — I  >■    i~^  «,  ■"!-# — \-^--i-* — ; — » -  -  f—s-a — ■--'*-* — f—^*—^*^:^ — 


P?EE= 


_L. 


Wlieu  played  softly  the  melody  is  not  distinctly  perceived,  l)ut 
seems  to  be  looking  out  at  us  throng-h  a  veil.  If  the  uj)p(M-  notes  of  the 
right  hand  part  are  played  alone  (as  indicated  by  the  accent  marks,) 
it  is  at  once  perceived  that  we  have  here  the  melody  in  its  orio-inaj 
form.  Here  also  the  melody  and  harmony  are  unchanged,  and  here 
again,  consequeiitly,  we  have  no  essentially  new  meaning. 

Consider  now  the  following  air  from  Beethoven's  Sonata  in  Aflat, 
op.  26.  (Plays  air.)  Observe  now  the  first  variation.  (Plays.)  Here 
we  have  a  more  decided  departure  from  the  original.  The  hai-mony 
remains  the  same;  enough  of  tlie  melody  remains  unchanged  toenal)h> 
the  listener  to  refer  it  to  the  air  just  heard  as  its  source.  Still  it  is  in 
several  respects  a  new  air. 

The  second  vaiiation  makes  a  still  wider  departure.  (Plays.) 
Here  you  observe  that  the  melody  is  cut  up  into  repeating  notes,  and 
])laced  in  the  bass.  In  the  third  variation  the  key  is  changed  to  the 
minor  of  the  same  name,  and  the  original  harmonic  figure  is  carried  out 
in  syncopation,  producfng  a  distortive  effect,  not  unlike  that  of  viewing 
your  face  in  a  bad  mirror.  In  the  fourth  variation  we  have  the  air  trans- 
formed into  a  scAgrso,  a  playful  movement,  as  different  as  possible  from 
the  repose  of  the  original  air.  The  fifth  variation,  again,  l:»rings  back 
the  original  air,  but  much  ornamented. 

In  both  these  sets  of  variations  is  to  be  observed  the  same  law  of 
progression,  namely,  from  the  siuq^le  towards  greater  variety  and  di- 
versification. The  cocTa  at  the  end  of  the  last  set  was  for  the  purpose  of 
conducting  the  movement  back  again  to  a  natural  repose. 

These  variations  in  the  last  set  (A  flat,  op.  2(5)  are  of  a  dilferent  kind 
from  those  first  examined.  In  these  not  only  is  the  form  of  the  original 
air  diversified,  and  in  that  way  varied,  but  the  variations  are  of  such  a 
nature  that  they  have  the  eff"ect  of  imparting  or  bringing  out  a  new 
meaning-  in  each  variation.  Beethoven  was  the  great  composer  of  this 
form  of  variation. 

Let  us  examine  another  set  of  variations  by  Beethoven,  his  Eight 


20  HOW  TO   UNDERSTAND   MUSIC. 

Variations  on  the  theme  "  Une  Fiebre  brulante,"  by  Gretry,  found  in  the 
volume  of  "Beethoven's  Variations."  Each  one  of  these  is  to  be  com- 
pared with  the  theme  until  its  construction  is  obvious,  and  its  relation 
to  the  theme  plainly  understood.  Another  example  of  formal  varia- 
tions is  to  be  found  in  the  Andante  and  variations  of  Beethoven's  Sonata 
Appassionata,  o]^.  57.  (Billow's  edition.)  See  also  Mozart's  variations  in 
A,  in  one  of  his  sonatas  (No.  12,  Peters'  edition). 

12.  A  variation  of  an  air  is  an  amplification  of  it,  or 
nnfolding,  by  means  of  auxiliary  notes,  rhythmic  devices, 
changes  of  movement,  etc.,  yet  in  such  a  way  as  to  leave 
resemblance  enouoli  between  the  theme  and  variation  to 
indicate  their  relation. 

In  order  to  do  this  and  yet  allow  the  varying  to  be  carried  to  the 
full  extent  of  the  composer's  genius,  it  is  usual  to  arrange  the  series  of 
variations  progressively  according  to  their  elaboration,  tlie  simplest  first. 

13.  Variations  are  of  two  kinds,  Foj^mal  and  Charac- 
ter. In  the  former  the  air  or  theme  is  elaborated  without 
changing  its  original  meaning  or  expression.  Of  this  khid 
are  the  Beethoven  variations  in  C  and  J)b  (Nos.  1  and  5, 
below).  Character  variations  change  the  original  character 
or  expression  of  the  melody,  as  was  seen  in  the  Beethoven 
variations  in  K.b. 

List  of  Illustuatioxs. 

1.  Audante  from  Beethoven's  Sonata  in  G,  op.  14,  No.  2. 

2.  Air  and  Variations  in  Kb.  from  SoBata,  op.  26. 

3.  Variations  on  Grctry's  "  Une  Fiebre  brulante,"  Beethoven. 

4.  Air  and  Variations  in  A,  No.  12  of  Peters'  ed.  of  Mozart's  Sonatas. 

5.  Andante  and  Variations  from  Beethoven's  Sonata  Appassionata. 


RHYTHMIC  PULSATION  AND   MEASURE.  21 


LESSON    SEVENTH. 

RPIYTPIMIC    PULSATION    AND    MEASURE 

14.  Kliytlnn  means  "measured  flow." 

Music  is  measured  by  a  pulsation  which  goes  entirely  through  the 
movement  at  the  same  rate  of  speed,  like  the  human  pulse.  This  tunda- 
mental  rhythmic  pulsation  is  commonly  expressed  by  the  accompani- 
ment. Observe  now  the  accompaniment  of  this  little  waltz.  (Plays 
left-hand  part  of  the  first  Schubert  waltz.)  Beat  with  your  hands  on 
the  table  before  you,  the  same  pulsation  while  I  play. 

Mark  the  pulsation  in  the  example  I  now  play.  (Plays  No.  2,  in 
the  list.) 

In  the  same  manner  mark  the  pulsation  in  the  example,  I  now  play. 
(Plays  a  polka.  No.  3,  or  any  other  convenient  one;  but  not  too  fast. 
Be  sure  that  it  sounds  here  like  four  beats  in  the  measure.) 

These  pulsations  are  grouped  by  means  of  accents  into  groups 
called  measures. 

There  may  be  two,  three,  four,  six,  nine  or  twelve  pulsations  in  a 
measure.  Observe  now  the  following,  mark  the  pulsations  and  the 
accents,  and  tell  me  how  many  pulsations  there  are  in  a  measure. 
(Plays  No.  1,  again.     Be  sure  that  every  measure  has  a  decided  accent.) 

Observe  the  following:  (Plays  No.  4.) 

How  many  pulsations  are  there  in  a  measure  in  this  example? 
(Plays  No.  5.) 

Mark  the  pulsation  in  No.  G.     (Plays.) 

Observe  now  the  measures  in  the  same.  (Plays  again.)  How 
many  pulsations  were  there  in  a  measure?  (If  not  correctly  answered, 
repeat  the  example  and  accent  a  little  more.) 

Observe  the  pulsation  in  this  example.  (Plays  No.  7.)  This 
admits  of  being  understood  in  two  ways:  If  played  slowly  it  sounds 
like  six  pulsations  in  a  measure.  (Plays.)  If  played  more  rapidly  and 
accented  a  little  differently,  it  sounds  like  two  triplets  in  the  measure, 
and  you  naturally  beat  it  as  if  there  were  two  pulsations  in  a  measure. 
(Plays.) 

Observe  the  pulsation  in  this  example.     (Plays  No.  8.) 


22  HOW  TO   UNDERSTAND  MUSIC. 

Observe  now  the  measures  and  tell  me  how  many  pulsations  in  a 
measure.     (Plays  again.) 

Mark  the  pulsation  in  this  example.     (Plays  No.  9). 

How  many  pulsations  in  a  measure?     (Plays   again  if  necessary.) 

Observe  the  pulsation  and  the  measures  in  this  example. .  (Plays 
No.  10.) 

Observe  further  that  the  same  pulsation  runs  through  an  entire 
movement.  (Plays  No.  11,  the  class  marking  the  pulsation  by  a  motion 
of  the  hand  for  each  pulse,  paying  no  attention  to  the  measures.) 

Note  : — There  are  two  opiuious  in  regard  to  the  ultimate  nature  of  measure, 
one  lioUling  it  to  be  "  a  portion  of  time,"  the  other  "  a  group  of  pulses."  The 
true  conclusion  would  seem  to  be  that  measure  in  music  is  "  portion  of  time  " 
manifested  by  means  of  pulses  and  accents.  Measure  is  the  precise  analogue  of 
foot  in  poetry.  Poetic  quantity  is  also  related  to  time.  We  ourselves,  and  every 
thing  that  we  know  by  our  senses  or  think  of  under  sense-forms  of  thought,  are 
related  to  time  or  space.  Music  is  related  to  time,  and  so  is  meter.  The  time  of 
music  is  in  the  rhythmic  pulsation,  measure,  and  rate  of  movement.  And  so 
7neasure  in  its  ultimate  nature  is  certainly  time;  but  time  is  not  measure  until  it 
becomes  recognized  as  such  through  the  rhythmic  pulsation  and  accent:  and 
therefore  it  is  sufficiently  correct  for  musical  purposes  to  think  of  measure  as 
pulse-grouping,  as  is  here  done. 

List  of  Illustrations. 

1.  The  First  of  the  Schubert  Waltzes. 

2.  Schumann's  Nachtsti'icke  in  F,  op.  24,  No.  4. 

3.  A  Polka,  e.g.  Karl  Merz's  "  Lconore  Polka." 

4.  The  Waltz  from  Weber's  "  Der  Freyschiitz."     (Any  other  quick  waltz  will  do 

as  well.) 

5.  Schubert's  Menuetto  in  B  minor. 

6.  Two  strains  from  the  Schumann  Nachtsti'icke  in  C,  op.  24,  No.  1. 

7.  "The  Carnival  of  Venice." 

8.  Chopin  Polonaise  in  A. 

9.  Sixteen  measures  of  the  Adagio  in  Sonata  Patlietique. 

10.  Thirty-two  measures  of  Rondo  in  same  sonata. 

11.  Allegro  from  Sonata  in  F,  op.  2,  No.  1,  Beethoven. 


MEASURES  AND   RHYTHMIC   MOTION.  23 


LESSOIST    EIGHTH. 

MEASURES  AND  RHYTHMIC  MOTION. 

Begin  this  lesson  by  recapitulating  enough  of  the  previous  one  to 
refresh  th"e  memories  of  the  class  concerning  measures.  Use,  if  con- 
venient, other  examples,  only  be  sure  to  select  at  least  two,  each,  in 
double,  triple  and  common  time. 

15.  A  rliytlmiic  pulsation  may  be  called  a  rhythmic 
motioji,  and,  when  satisfactorily  completed  by  an  accent, 
is  called  a  Rhythm. 

(Plays  here  a  scale  in  common  time,  like  that  in  "  table  x\,"  in 
Mason's  Pianoforte  Technics.) 

The  rhytiunic  motion  may  be  twice  as  fast  as  the  pulsation.  Thus, 
e.g.^  the  Adagio  in  Beethoven's  Sonata  Pathetique  is  written  in  2-4 
time  with  a  pulsation  of  sixteenth  notes.  The  eflfect  is  as  if  vou  were 
to  count  four  in  a  measure  and  each  pulse  had  two  notes.  (Plavs.) 
Counting   four  in  a  measure,    the    motion    here  is  a  half-pulse    motion. 

Example  nine  of  the  previous  chapter  had  the  same  kind  of  motion. 
Observe  the  bass,  and  at  the  same  time  count  the  time  aloud  while  1 
play.     (Phays.) 

Observe  now  the  first  nineteen  measures  of  Beethoven's  first  sonata, 
example  eleven  of  the  previous  chapter.  Mark  the  pulsations  and 
measures,  and  tell  mo  whether  it  is  a  pulse-motion  or  a  lialf-pidse 
motion.  (Plays.  This  must  be  repeated  until  the  pupils  are  conscious 
of  the  quarter-note  motion  which  is  unmistakable  in  th(^  first  in'ne 
measures,  and  strongly  implied  in  the  first  nineteen.) 

Observe  ao-ain  how  the  motion  chano-es  in  the  twentieth  measure. 
(Plays  again  from  the  beginning  through  to  the  double  bar.)  From 
the  twentieth  to  the  forty-first  measure  there  is  what  sort  of  a  motion? 
("Half-pulse."  But  play  it  until  they  observe  it.)  AVhat  kind  of  a 
motion  begins  at  the    forty-first  measure?     (Quarter-pulse.     Plays  it.) 

Observe  now  example  five,  especially  in  regard  to  tlie  change  of 
motion.  What  sort  of  a  motion  has  it  at  beginning?  (Phiys,  "Pulse- 
motion.")  Where  the  motion  changes,  raise  your  handa  (Plays  again. 
"Half-pulse  "  motion  begins  in  tenth  measure  of  the  second  period.) 


24:  HOW  TO   UNDERSTAND   MUSIC. 

Observe  the  trio  of  the   same.     What   sort  of  a  motion   luis   it? 

(Rays.) 

List  of  Illustrations. 

1.  Scale  of  C  or  G  in  4s  (rhytlmi  completed). 

2.  Adaii'io  from  Sonata  Patlu'ticjue. 
'■].  Rondo  of  same  Sonala. 

4.  Allegro  from  first  Sonata. 

5.  Menuetto  from  Beethoven's  Sonata  in  F  min.  (op.  2,  Xo.  1). 


LESSQ]^    ]sri]srTH. 

MEASURES,  RHYTinilC  MOTION  AND  MOTIVIZATION. 

In  the  examples  of  the  previous  lessons  we  have  observed  in 
every  ])iece  a  rhytlnnic  pulsation  carried  through  the  piece  at  a  uniform 
rate;  and  in  connection  with  this  a  full-pulse,  half-pulse  or  other  rhyth- 
mic motion,  which  changes  several  times  in  the  course  of  a  piece,  being 
generally  quicker  towards  the  last. 

Thus,  e.  g.  observe  the  first  eight  measures  of  Pauer's  "  Cascade." 
What  is  the  pulsation?  What  the  motion?  (Observe  the  half-pulse 
motion  in  tlie  bass.)     (Plays.) 

Observe  now  that  the  melody  has  a  certain  definite  motivization 
of  its  own.      Its  rhvthm  is 


Ex.  9. 


I 


This  rhythmic  figure  is  repeated  over  and  over.  Observe  now  the 
rapid  motion  that  begins  after  the  theme  is  com])leted.  Here  we  have 
an  eighth-pulse  motion  in  the  fine  work,  a  half-pulse  motion  in  the 
bass,  and  a  full-pulse  motion  in  the  melody.     (Plays.) 

Observe  the  combination  of  measure-2:)ulses,  rhythmic  motions  and 
motivization  in  the  Bach  Invention  in  E  min.  In  the  first  thirteen 
measures  there  is  a  half-pulse  motion,  except  the  fifth  measure,  which 
has  a  quarter-pulse  motion.  (Plays,  the  pupils  marking  the  measure- 
pulses  by  motions  of  the  hand.) 

Along  with  this  is  the  melodic  subject  which  runs  through  the 
piece.     Its  rhythm  is 


Ex.  10. 


3        0     0     •      \    0   '  0     0     0      \    0   •         I 


At  the  fourteenth  measure  a  quarter-pulse  motion  begins  in  the 
counterpoint  and  continues  for  twenty-three  measures.     (Plays.) 


MEASURES,  RIIYT1131IC   MOTION  AND  MOTIVIZATION.         2') 

Again,  take  the  Allegro  of  the  sonata  (X(j.  3,  on  the  list  ol  this 
chapter).  This  is  in  6-8  time  and  has  the  efTect  of  two  pulses  in  a 
measure.  Throughout  the  first  twenty-f<jur  measures  there  is  a  triplet 
(or  "third-pulse")  motion  transferred  from  bass  to  treble,  and  l)ack 
again,  but  not  interrupted.  (Plays  twenty-five  measures.)  Fnjm  tlicrc 
to  the  thirty-ninth  measure  there  is  no  uniform  motion,  but  two  differ- 
ent rhythms  alternately  appear.  (Plays.)  From  the  thirty-nintii  to 
the  fifty-ninth  the  triplet  motion  appears  again.  At  this  point  the 
triplets  disappear   and  we  have  a  full-pulse  motion  for  eight  measures. 

Observe,  again,  the  rhythm  of  this  polonaise.  (Plays  the  Chopin 
Polonaise  in  A,  No.  4,  of  the  list.)  Here  we  have  a  three-pulse  meas- 
ure, with  half  and  quarter-pulse  motion. 


Ex.  11.        ? 


At  the  entrance  of  the  second  subject  (in  D  maj,),  the  rhythm  of 
the  melody  chano;es  to  tliis  fisrure. 

Kx.  1..  I  I         I    '^     *?    ^    I  I 

Rhythm  is  the  primary  element  in  a  motive,  and  is  in  fact  that  to 
which  it  owes  its  name  of  motive,  or  mover. 

A  conspicuous  example  of  rhythmic  uniformity  carried  through 
almost  an  entire  long  movement  is  afforded  by  Beethoven's  Allegretto 
in  the  Seventh  Symphony,  which  moves  in  this  figure. 


Ex.  13. 


4  r  ij'ir  r  ii'  u'if  r  ii  Ij'Ii  i  ii  j  ^^  i 

It  will  also  be  useful  to  study  the  manner  in  which  riiythmic 
characterization  of  subjects  is  managed  in  long  movements  generally; 
as  e.  g.  in  any  of  the  binary  and  ternary  forms  analyzed  in  the  second 
part  of  this  work.     (See  Lessons  Thirteenth  and  Fourteenth.) 


List  of  Illustrations. 

1.  Pauer's  Cascade. 

2.  Bach's  Invention  in  E  min.  (Three-part,  No.  7.) 

3.  Allegro  of  Sonata  in  E  flat  op.  7,  Beethoven. 

4.  Chopin's  Polonafse  in  A. 


Part   Secot^td. 


LESSONS  IN  MUSICAL  FORM. 


LESSON     TENTH 


THE  ELEMENTARY  FORMS.     CLOSED  FOR:\rS. 

PERIOD-GROUPS. 


vaglt:. 


16.  A  Form  in  music  is  a  period,  or  group  of  periods 
belonging  together;  or  possibly  belonging  together  only  to 
the  extent  of  being  connected  with  each  other,  and  more  or 
less  contrasted  with  a  following  homogenous  and  well-closed 
period  group. 

By  "  well-closed  "  is  meant  "  fully  and  decidedly  closed."  Thus 
for  example,  observe  the  following-  three  waltzes  of  Schubert.  (Plays 
the  first  three  numbers  in  Schubert's  Danses.)  The  first  has  for  its 
leadinar  motive  this: 


Ex.  14. 


fM^i&i 


— I- 
-•- 
-0- 


This  motive  occurs  six  times  in  the  first  two  periods.     The  second 
has  for  leadino-  motive  this: 


Ex.l5.    tfe?zl2^^_- 


^^■■^-■^ — 


3 


^  -0-        -0-        -»■ 

This  occurs  five  times  in  two  periods.  Analyze  the  third  in  the 
same  way. 

Observe,  again,  that  the  first  waltz  begins  and  ends  in  the  key  of 
A  flat.  So  also  the  second  and  third.  The  cadences  are  complete  and 
satisfactory.  This  will  be  better  observed  by  playing  the  accompani- 
ment alone. 

26 


THE   ELEMENTARY   FORMS,  ETC.  27 

Observe,  rui'tliei-,  tluit  the  iirst  two  periods  are  intiinatelv  connected 
by  reason  of  the  preiloniinance  of  the  same  leading-  motive  in  both.  So 
also  are  the  two  periods  of  the  second  waltz.  Two  of  these  periods 
together,  make  "a  form."  The  two  jieriods  in  each  form  are  homo- 
genous, because  in  the  same  key  and  having  the  same  rulino-  motive. 
Each  form  is  a  "  closed  form  "  because  it  concludes  in  its  own  principal 
key  and  is  shut  off  from  the  following  25eriods  by  the  entrance  of  new 
motives  and  a  new  movement. 

Again,  listen  to  the  first  twenty  measures  of  Beethoveifs  first 
sonata,  in  F  min.  op.  3.  (Plays.)  Mention  the  periods.  There  are 
two  of  them.  The  first  ends  in  the  dominant  of  the  principal  key,  in 
the  eighth  measure.  The  second  begins  with  the  same  leading  motive, 
but  immediately  forsakes  it,  and  builds  with  the  second  motive  of  the 
first  period.  The  first  period  begins  in  F  minor,  and  ends  with  the 
dominant  of  it.  This  is  a  half-cadence,  and  denotes  incompleteness. 
The  second  begins  in  C  minor,  and  finally  ends  in  E  flat,  as  the  domi- 
nant of  A  flat,  the  key  of  the  next-following  period.  The  first  period 
is  the  principal  subject  of  this  sonata,  and  is  not  a  "  closed  form."  The 
second  period  is  modulatory  or  transitional,  and  is  designed  to  lead 
across  to  the  introduction  of  the  second  principal  subject,  which  enters 
at  the  last  beat  of  the  twentieth  measure. 

Take,  again,  the  Adagio  of  this  same  sonata.  Observe  the  periods 
of  the  first  sixteen  measures.  (Plays.)  Here,  again,  we  have  two 
periods.  They  are  homogenous,  because  the  second  period  concludes 
with  the  principal  motive  of  the  first,  and  in  the  same  key.  Both 
periods  begin  and  end  in  F  major.  They  are  shai-[ily  cut  off  from  the 
next  following  periods,  because  these  latter  begin  in  a  new  key  and 
with  new  motives.  These  first  sixteen  measures,  therefore,  form  a 
homogenous  period-group  of  two  periods,  which  unite  to  make  "  a 
closed  form."  The  next  followino-  fifteen  measures  also  contain  two 
periods.  The  first  one  has  eleven  measures.  It  begins  in  D  minor. 
It  ends  in  C  major.  It  is  followed  by  an  abridged  period  of  four  meas- 
ures, or  joerhaps  Ijetter,  an  independent  section  of  a  transitional  char- 
acter. These  two  periods  are  not  homogenous,  their  modulatory 
structure  is  vague,  and  therefore  they  do  not  unite  to  make  a  form. 

Observe  now  the  Menuetto  of  the  same  sonata.  (Plays.)  How 
many  Periods  have  we?  (Plays.)  The  first  subject  has  this  motive. 
(Plays  motive  of  Menuetto.)  When  the  form  is  complete  and  a  new 
one  enters,  say  "  Form."  (Plays.)  Class  listens  and  says  "  form  "  as 
the  forty-first  or  forty-second  measure  is  begun.  The  three  periods  in 
these   forty-one   measures   should  then  be  examined   again  in  order  to 


-^8  HOW  TO    UNDERSTAND   MUSIC. 

discover  whether  they  unite  to  make  a  homogenous  period-group,  and 
a  closed  form.     The  trio  may  then  be  examined  in  the  same  way. 

Examine  in  the  same  way  the  first  sixteen  measures  of  the  Adagio 
of  Sonata  Pathetique.  Then  the  next  following  twelve  measures. 
Then  the  eight  measures  following  this  (the  repetition  of  the  theme.) 
And  the  fourteen  measures  following  this.  All  these  are  period- 
groups,  more  or  less  homogenous. 

Take  next  the  first  seventeen  measures  of  the  Finale  of  the  same 
sonata.     This  also  is  a  closed  form. 

It  would  be  well  to  introduce  also  a  salon  piece,  as,  e.  g.^  Wollen- 
haupt's  Whispering  Winds,  the  pupils  watching  for  new  subjects,  and 
pointing  out  the  ends  of  the  closed  forms.  Mason's  Danse  Rustique  is 
another  good  example. 

Musical  Illustrations. 

1.  The  first  three  of  Schubert's  Danses.     (Peters'  Ed.,  No.  150.; 

2.  Part  of  first  iiioveiucut  of  Beethoven  Soaata,  op.  2,  No.  1. 

3.  Part  of  the  Adagio  of  the  same. 

4.  Menuetto  of  the  same. 

a.  Part  of  the  Adagio  of  Sonata  Pathetique. 

6.  Part  of  Finale  of  the  same. 

7.  Salon  Pieces,  such  as  Wolleuhaupt's  "  AVhispering  Winds,"  and  Mason's  "  Danse 
Rustique." 


LESSON     ELEVENTH. 

FURTHER  EXAMINATION  OF  OPEN  AND  CLOSED  FORMS. 

In  the  previous  lesson  Closed  Forms  were  the  subject  of  our  ex- 
amination. In  opposition  to  the  term  "  closed,"  we  might  apply  to 
imperfectly  closed  period-groups  the  term  "  open,"  although  the  ex- 
pression "  open  form  "  is  to  a  certain  extent  a  solecism.  If,  now,  we 
listen  attentively  to  the  period-group  immediately  following  the  double- 
liar  in  the  principal  movement  of  a  sonata,  we  shall  find  it  to  consist  of 
from  two  to  four  or  five  imperfectly  closed  periods,  freely  modulating. 
(Plays  fifty-seven  measures  in  E  minor.  Allegro  tnolto  e  con  brio, 
of  first  movement  of  Sonata  Pathetique.)  Now  observe  the  first  part 
of  the  same  movement,  (Plays,)  We  see  tliat  this  contains  two  dis- 
tinctly marked  forms;  and  that  the  part  following  the  double-bar  is  in 
reality  a  free-fantasy  on  certain  leading  motives  out  of  the  first  part. 

Again,  observe  the  Impromptu  in  A  flat,  (op.  29,)  of  Chopin. 
(Plays,)     Of  how  many  closed   forms   does  tliis  consist?     Analyze  the 


OPEN  AND   CLOSED   FORMS.  29 

first  form  into  its  periods.  (Plays  again,  and  again  until  successfully 
anah'zed.) 

Observe  the  Schumann  Novellette  in  E,  No.  7,  op.  21.  (Plays.) 
Of  how  many  closed  forms  does  this  consist?     (Flays  again.) 

Note. — It  may  be  well  to  remark  thai  this  work  consists  of  three  forms,  the 
melody  in  the  middle  (iu  A  maj.)  being  the  second,  and  standing  between  the 
other  two. 

Examine  now  the  Bach  Gavotte  in  1)  minor,  No.  3  in  Bach's 
"Pieces  Favoris.""  (Plays.)  I^isten  again  and  point  (nit  the  periods. 
(Plays.)  Does  this  consist  of  one  form  or  more  than  one?  (One, 
since  the  same  motive  prevails  throughout  the  movement.) 

Observe  now  the  Gavotte  in  D,  immediately  following  the  previous. 
(Plays.) 

This,  as  you  jjerceive,  is  composed'  on  the  same  motive  as  the 
previous,  but  in  a  major  key,  whereas  that  was  in  minor.  This  also 
constitutes  a  sino;le  "  closed  form." 

Observe  now  the  first  Mendelssohn  Song  without  ^Vords.  (Plays.) 
Define  the  periods  as  I  play.  (Plays  again.)  How  many  forms  have 
we  in  this?     (Ans.      One  form,  of  three  periods.) 

We  have  thus  discovered  that  a  long  jjiece  of  music  may  consist 
of  several  shorter  forms. 

17.  A  piece  consisting  of  a  single  form  is  said  to  he  in 
"  Unitary  Form,"  whether  of  one,  two,  three,  or  four  pe- 
riods. 

Generally  a  unitary  form  will  contain  not  more  than  three  periods, 
the  first  and  last  of  which  at  least  must  be  homoo-enous  with  each  other. 

Examples  of  unitary  forms  are  numerous  and  owing  to  their 
brevity  easily  recognized. 

Single  church-tunes  ai'c  one-period  unitary  forms. 

Examine  Schumann''s  '-Traumorei;  Also  the  "Entrance"  and 
"  Wayside  Inn "  of  the  Forest  Scenes,  op.  82,  Nos.  1  and  4.  Also 
Mendelssohn's  "  Hunting  Song."  Test  them  separately  and  repeatedly 
for  (1)  periods,  (2)  homogeneity  of  periods,  and  ()>)  for  close  of  forms. 

Musical  Illustrations. 

1.  Extract  from  Allegro  of  Sonata  Pathetique. 
3.  Inijjromptu  in  A  flat,  op.  29,  Chopin. 

3.  Schumann  Novellette  in  E,  No.  7,  op.  21. 

4.  Gavotte  in  D  min.  from  Bach's  '•  Pieces  Favoris."     (Peters'  Edit..  No.  221.) 

5.  First  Song  without  Words.     Mendelssohn. 

6.  "Traumerei  "  Schumann. 

7.  "  Hunting  Song."     Mendelssohn. 


30 


HOW  TO   UXDERSTAXD   MUSIC. 


LESSON     TWELFTH.*- 

IRREGULAR  PERIOD-FORMS  AND  PERIOD  GROUPS. 

The  natural  length  of  the  simple  period  is  eight  measures  in  slow 
or  moderate  time,  and  sixteen  in  quick  time.  But  in  good  writing  these 
lengths  are  constantly  varied  by  shortening,  extending,  etc.,  to  such  a 
degree  that  period-lengths  of  forty  or  fifty  measures  are  sometimes 
found. 

The  true  way  to  distinguish  periods  from  each  other  is  by  their 
motives  and  the  relation  of  Antecedent  and  Consequent. 

The  simple  period  consists  of  two  similar  sections  (or  halves) 
standing  in  the  relation  of  antecedent  and  consequent. 

Each  of  these  sections,  again,  consists  in  general  of  two  phrases, 
making  four  phrases  in  the  period.  As  a  rule  two  of  these  phrases  are 
entirely  or  very  nearly  alike,  and  the  other  two  correspond  or  answer 
to  each  other,  having  a  similar  rhythm,  but  different  harmony  and 
melody. 

Thus,  (Beethoven), 


Ex.  ic.  r 


First  Section. 


Antecedent.- 


I 


PHRASE 


m^s;^ 


In  the  same  manner  analyze  the  first  eight  measures  of  the  Adagio 
in  tlie  Beethoven  sonata  in  F,  op.  2,  No.  1.  Also  the  first  eight  meas- 
lu-es  of  the  Adagio  of  Sonata  Pathetique.  This  is  the  simplest  form  of 
period.  The  first  eight  measures  of  the  Beethoven  sonata  in  G,  op.  14, 
No.  2,  afford  an  example  of  a  period  in  which  the  antecedent  contains 
the  same  phrase  twice  repeated;  and  a  consequent  entirely  different. 


*Tliis  Lesson  may  be  omitted  at  the  dictatiou  of  the  teacher. 


IRIJEGULAR   PElilOD-FOiniS   AND    I'EKIOI)   (JKOUPS. 


31 


The  Antecedent  in  the  period  is  the  purt  that  asks  a  question;  it 
presents  tlic  subject  in  an  incomplete  i'orni.  The  Consequent  completes 
the  form,  answers  the  question,  and  so  forms  an  equipoise  to  the  ante- 
cedent. It  does  this  by  (1)  completing  the  rhythm  (/.  c,  by  filling 
up  the  natural  number  of  eight  or  sixteen  measures,)  and  (2)  by  re- 
turning to  the  tonic.  Thus  in  the  example  above,  No.  IG,  the  first 
section  leads  to  the  dominant;  the  second  returns  to  the  tonic. 

Sometimes  the  period  does  not  return  to  the  tonic,  but  leads  oif  to 
some  foreign  key.  In  that  case  the  period  is  incomplete,  and  is  either  of 
a  transitional  or  a  modulating  character,  or  else  is  intended  to  be  properly 
finished  at  some  subsequent  appearance  of  the  same  subject.  An  ex- 
ample of  this  kind  is  found  in  the  first  eight  measures  of  Schumann's 
Aafschwung,  where  the  antecedent  is  in  F  minor,  and  the  consequent 
concludes  in  K  flat. 

Periods  are  extended  to  nine,  ten  or  twelve  measures,  by  piolong- 
ing  the  cadence,  or  by  inserting  matter  just  before  the  point  where  the 
cadence  was  expected. 

A  comj^lex  period  is  one  in  which  the  antecedent  is  repeated, 
usually  in  a  higher  pitch,  thus  intensifying  the  feeling  of  expectatioii 
and  making  the  consequent  more  satisfactory  when  it  does  come.  An 
example  of  this  is  found  in  Schubert's  Sonata  in  C.     Thus: 


^••i-l  .   •,^**i    i^^"^    ^"^"-^    r^~i"^    ^^''T-  '    I  i    I    I*?*    I  *    I 
1 *_#_* J  _!• r m *z:Th "  *  *             t_ 

^4       -M-^-M-       Z-       ^       Z.      ^      ^      ^       M.M.M.  i        *        i-    !,™-   i 

-+       *-■•-*-       J0.      J».      J0.      J».      J0.      -^       J0.j0.j0.         T        I  I       -^^     \>-»- 


^  J 


li—s- 


0 


-4 


l—ts-izi::t=.zzz 


|] 


T       '- 


One  of  the  most   remarkable   examples  of  this  kind  is  a  period  in 
Chopin's  Scherzo    in   B  flat  minor,   op.  31,    (beginning  with  the  sixty- 


32  HOW  TO   UNDERSTAND  MUSIC. 

fourth  measure)  which  extends  to  fifty-three  measures,  the  antecedent 
being  repeated  four  times:  viz.,  in  G  flat,  A  flat,  D  flat,  and  in  D  flat 
in  octaves.  It  may  be  proper  to  add,  however,  that  many  would  regard 
this  passage  as  in  reality  consisting  of  two  periods,  the  first  ending  with 
the  first  consequent.  It  is  a  question  of  names  merely,  the  last  ante- 
cedent and  consequent  having  precisely  the  same  content  as  the  first, 
additionally  emphasized  by  means  of  the  octaves. 

A  period-group  is  a  succession  of  periods  on  the  same  motives  (as 
in  unitary  forms)  or  on  different  motives,  as  in  transitional  periods  and 
the  "elaboration  "  of  sonatas.  (See  Chap.  VI.)  These  parts  of  com- 
position may  be  easily  studied  by  the  student  privately,  using  the 
JMtson  reprint  of  the  Biilow  (Stuttgart)  edition  of  the  Beethoven 
Sonatas. 

For  our  present  purposes  it  is  enough  to  be  able  to  recognize  the 
principal  subjects  in  extended  movements.  Ability  to  follow  the  treat- 
ment of  transitional  passages  and  elaborations  is  a  more  mature  accom- 
plishment. 


LESSON     THTPvTEENTH. 

BINARY  FORMS. 

18.  A  Binary  Form  is  a  form  composed  of  two  unitary 
forms,  which  may  or  may  not  be  connected  by  means  of 
intervening  passages  or  transitional  periods.  The  two  forms 
uniting  to  compose  a  binary  form,  stand  in  the  relation  of 
Principal  and  Second.  The  Principal  stands  at  the  begin- 
ning, and  is  repeated  after  the  Second.  Thus  the  Principal 
occurs  twice;  the  Second  once.  This  is  for  the  sake  of 
unitv. 

This  is  the  form,  e.  g.,  of  the  Menuetto  of  the  Beethoven  Sonata 
in  F  min.,op.2,  No.  1.  (Plays  until  the  class  clearly  perceive  the  con- 
struction.) 

In  the  older  forms  of  this  kind  we  sometimes  find  the  Second  com- 
posed from  the  same  motives  as  the  Principal,  but  changed  from  minor 
to  major,  or  vice  versa.  Bach's  Gavotte  in  D  minor  is  an  example  of 
this  kind.     (Plays  as  many  times  as  necessary.) 


BINAKY  FORMS.  33 

Observe  a'lso  the  Monuc^tto  by  Sclmliort,  in  V>  minoi-,  o]).  78.  (Piiiys, 
as  before.) 

Ill  both  these  cases  the  Second  comes  in  wliat  is  sometimes  called 
a  milder  form  than  the  Principal,  and  is  of  a  softer  and  less  pronounced 
character.  In  this  form  it  is  called  a  trio,  proba])ly  1)ecause  in  the 
olden  time  these  parts  were  performed  by  a  smaller  number  of  instru- 
ments. 
,  Observe  also,  the  Clmpin  Polonaise,  in  A,  op.  40.  (Plays  until  the 
class  perceive  this  form.) 

In  other  cases,  again,  the  Second  is  of  a  more  animated  character. 
Observe  the  Adagio  from  Beethoven's  first  sonata.     (Plays.) 

Sometimes  the  Second  is  not  so  distinctly  a  unit  as  the  Principal. 
This  is  the  case,  e.  g.,  in  the  Largo  of  Beethoven's  second  sonata. 
(Sonata  in  A,  o]:).  2,  No.  2.)     (Plays.) 

Binary  forms  are  frequently  extended  by  a  Coda  composed  of  new 
material,  put  in  after  the  repetition  of  the  Principal  in  order  to  lead 
more  satisfactorily  to  a  close.  Such  an  example  we  have  already  in 
the  Laro-o  last  played.  Observe  again,  the  Scherzo  from  Beethoven's 
Sonata  in  C,  op.  2.  No.  3.  (Plays,  and  repeats,  until  the  class  success- 
fully analyzes  it.) 

Very  many  popular  pieces  are  in  this  form.  For  example,  Wollen- 
haupt's  "  Whispering  Winds."  (Plays.)  The  first  page  is  introduction. 
The  next  four  constitute  the  first  form,  the  Principal.  The  part  in  six 
flats  is  the  Second.  Then  the  Principal  occurs  again,  but  in  an  abridged 
form.     This  is  followed  by  anew  strain  serving  as  Coda,  or  conclusion. 

Observe  also  Chopin's  little  waltz  in  D  flat,  oj).  (U.      (Plays.) 

Also  the  Chopin  Impromptu   in  A  flat,  op.  29.      (Plays.) 

The  Chopin  Scherzo  in  B  flat  min.,  op.  .31,  is  another  example  of 
this  form. 

List  of  Illustrations. 

1.  Mcnuetto,  Beethoven's  Sonata  in  F,  op.  2. 

-I.  Bach's  Gavotte  in  D  miu.     (Peters' Ed.     Bach's  Favorite  Pieces,  No.  221.) 

:>.  Menuetto  in  B  min.     Sclmliert,  op.  78. 

4.  Cliopin  Polonaise  in  A,  op.  40. 

5.  Adagio  from  Beetlioven's  Sonata  in  F,  op.  2. 

(f.  Larii'o,  from  Beethoven's  Sonata  in  A,  op.  2,  No.  2. 

7.  Scherzo,  from  Beethoven's  Sonata  in  C,  op^.  2,  No.  8. 

8.  Wolleuliaupt's  "Whispering  Winds."- 
g.  Cliopin's  Valse  in  D  fiat,  op.  64. 

to.  Chopin's  Impromptu  in  A  flat,  op.  29. 
11.  Cliopin's  Scherzo  in  B  flat  min.,  op.  ;?1. 


34  HOW  TO   UNDERSTAND  MUSIC. 


LESSON     FOURTEENTH. 


TERNARY  FORMS. 

19.  Any  musical  form  consisting  of  three  distinct  unitary 
forms,  is  called  Ter7iary. 

Observe,  c.g.^  the  following:  (Plays  Adagio  of  Sonata  Pathetique.) 
The  first  subject  is  this:  (Plays  eight  measures.)  The  second  is  this: 
(Begins  in  seventeenth  measure  and  plays  seven  measures.)  The  third 
subject  is  this:  (Plays  fourteen  measures  in  A  flat  minor,  beginning 
after  the  repetition  of  the  Principal,  which  ends  in  the  thirty-sixth 
measure.) 

These  subjects  we  will  designate  as  Principal,  Second  and  Third, 
Observe  now  when  I  play  the  movement  tlirough,  and  as  I  begin  each 
subject,  say  "Principal,"  "Second"  or  "Third,"  as  the  case  may  be. 
(Plays.)  Observe  again  the  character  of  the  diiferent  movements. 
The  Principal  is  a  pure  lyric;  tlie  Second  is  much  less  reposeful;  the 
Third,  again,  is  lyric,  but  the  triplet  motion  in  the  accompaniment 
evinces  an  excitement  such  as  we  do  not  find  in  the  Principal.  Observe 
again  while  the  movement  is  played  through  from  beginning  to  end, 
and  see  how  many  times  each  subject  occurs.  (Plays.  Tlie  Principal 
occurs  three  times,  the  Second  and  Third  once  each.) 

This  movement  is  type  of  a  rare  class,  namely,  of  a  slow  movement 
in  ternary  order. 

Anotlier  example  of  ternary  form  is  to  be  found  in  No.  2  of  Schu- 
mann's Kreisleriana.  This  work  consists  of  a  Principal,  the-first  thirty- 
seven  measures.  First  Intermezzo,  or  "Second,"  twenty-six  measures; 
Principal,  thirty-seven  measures.  Second  Intermezzo,  or  "Third," 
fiftv-four  measures;  Transitional  matter  bringing  back  the  Principal, 
and  the  conclusion  of  the  whole,  forty-seven  measures. 

20.  The  most  common  form  of  this  order  is  the  Rondb, 
or  round,  a  form  deriving  its  name  from  its  returning  to  the 
same  theme,  circularwise,  after  every  digression. 

Observe,  e.  <7.,  the  following.  (Plays  two  periods,  seventeen  meas- 
ures of  tlio   Beethoven    Rondo   in   C,   op.    51.)      This  is  the   Principal. 


TERNARY   FORMS.  35 

Then  follows  a  transition  of  seven    measures,  leading  to  the  key  of  G. 
(Plays.)      Then  the  Second  in  G,  ten  measures.      (Plays.) 

This  is  followed  by  the  "return,"  a  series  of  passages  leading  back 
to  the  Principal.  (Plays  nine  measures.)  Then  follows  the  Principal 
shortened  to  eight  measures.  (Plays.)  Here  enters  the  Third  subject 
in  C  minor.  It  consists  of  three  periods:  First,  eight  measures;  Second^ 
seven,  and  Third,  six.     Twenty-one  in  all.     (Plays.) 

This  is  followed  by  a  transition  of  three  measures,  the  Principal  in 
A  flat,  thirteen  meas.,  and  passage  of  three  nieas.  loading  back  to  the 
Principal  in  C,  shortened  to  thirteen  measures,  followed  by  the  con- 
clusion, thirty-one  measures.      (Plays.) 

Thus  we  see  that  the  primary  elements  of  this  Rondo  are  three. 
The  Principal,  (Plays  eight  meas.,)  the  Second,  (Plays  ten  meas.,)  and 
the  Third,  (Plays  eight  meas.)  Everything  else  in  the  Rondo  is  sub- 
ordinate to  these  three  leading  ideas.  These,  again,  are  subjected  to 
the  Principal,  which  by  its  four  recurrences  impresses  itself  upon  the 
attention  as  the  principal  idea  of  the  work. 

Observe  again  these  three  ideas.  (Plays  them  again.)  Now  let 
us  see  if  you  know  them  when  you  hear  them.  (Plays  the  first  three 
or  four  measures  of  each  several  times  in  various  orders  until  the  class 
easily  recognize  them.) 

Observe  now  while  I  play  the  entire  work  through  and  designate 
the  leading  ideas  as  "  Principal,"  "Second  "  and  "  Third  "  as  tlu^y  ixp- 
pear.     (Plays,  the  class  responding.) 

Still  further  exercise  in  this  form  may  be  had  by  treating  other 
pieces  in  the  same  way.  In  order  to  save  space,  the  work  is  not  given 
here  entire,  but  only  the  analysis. 

Thus,  another  example  is  the  Rondo  from  Beethoven's  sonata  in 
C,  op.  2,  No.  3.  Its  plan  is:  Principal  and  transition  twenty-nine  meas- 
ures; Second  and  transition  thirty-eight;  Principal  and  transition 
thirty-four;  Third,  in  F,  much  elaborated,  seventy-eight;  Principal 
thirty-seven;     Second  and  transition  thirty-five;   Conclusion  sixty. 

(Note.— In  treating  a  work  so  large  as  this,  it  is  better  to  begin  by  playing 
separately  the  three  principal  ideas,  and  afterwards  going  tlirough  the  entire  work 
in  the  same  manner  as  the  preceding.) 

The  Rondo  in  Beethoven's  sonata  in  A  flat,  op.  2G,  is  another 
example. 

Still  another  is  the  Rondo  in  Beethoven's  sonata  in  B  flat,  o]i.  22. 
This  work  consists  of  Princi])al,  (two  periods,  9  and  9)  18  measvn-es; 
transition  4;  Second  9;  transition  (two  periods,  9  and  9)  18;  Principal 
18;  transition  5;  Third,    (four   periods,  6,  17,  G,  10),   39;  Principal  18; 


36 


HOW  TO   UNDERSTAND   MUSIC. 


transition  6;  Second  abridged,  and  transition  29;  Principal  18;  Coda 
(12  and  5)  17. 

In  the  Rondo  of  Sonata  Pathetique  the  Principal  occ urs ybwy  times. 

The  Rondo  is  founded  on  the  people's  song-,  and  in  its  essential 
spirit  is  easy  and  rather  cheerful. 

List  of  IllustbatiOjSts. 

1.  Adagio  of  Sonata  Pathetique. 

2.  No.  3  of  Schumann's  Kreisleriana,  op.  IG. 

;].  Rondo  in  C,  Beethoven,  op.  51.     (Peters'  No.  297.) 

4.  Rondo  from  Souuta  in  C,  Beethoven,  op.  2,  No.  2. 

5.  Rondo  in  A6,  op.  26,  Beethoven. 

6.  Rondo  in  B&,  op.  23,  Beethoven. 


LESSON     FIFTEENTH. 

THE  SONATA  PIECE. 

We  begin  in  this  lesson  the  examination  of  the  most  important 
form  known  to  instrumental  music; — so  important,  indeed,  that  many 
theorists  designate  it  the  "  principal  form,"  and  say  unqualifiedly  that 
it  is  the  type  of  all  serious  forms.  This,  as  we  shall  see,  is  claiming 
too  much  for  it,  for  there  are  in  fact  two  primitive  types,  the  people's 
song  the  type  of  the  lyric^  and  the  ancient  binary  form  the  type  of  the 
thematic. 

The  form  we  now  take  up  is  called  the  "  Sonata- Piece,"  or  simply 
the  Sonata-form,  because  it  is  this  form  which  gives  name  to  the  three 
or  four  separate  forms  combined  in  the  sonata. 

Observe  now  this  piece.     It  consists  of  three  large  divisions.      The 

first  part  contains  several  distinct  ideas,  as  thus:     (Plays  the  following 

motives:) 

Ex.  18. 


(1. 


^^m^ 


(2.)     :, 


:E=f: 


inzii 
— )— 
-0 


N- 


2*^ 


(3.) 


\' 


THE   SONATA -PIECE.  37 

(Plays  then  tlie  first  pa<^-o  of  Beethoven's  Sonata  in  F.  op.  2,  as  far  as 
tlie  double  bar.) 

Observe  ag-ain  this  entire  page.     (Plays  again.) 

N(nv  listen  to  the  following  while  I  play,  and  tell  me  if  your  hear  any 
motives  vou  hav(>  heard  before.  (Plavs  fiftv-two  measures  beo-innin*"- 
at  the  double  bar.) 

Let  us  familiarize  ourselves  with  the  original  motives.  (Plays 
the  motives  Nos.  1,  2  and  3  in  different  orders  until  the  class  is  able  to 
name  each  one  as  heard  "one"  "two"  or  "three.")  Now  listen  to 
these  fifty-two  measures  again,  aiid  when  either  of  these  original  motives 
occurs,  name  it  "one,"  "  t\vo "  or  "three,"  according  to  which  it  is. 
(Plays  then  the  part  again,  and  very  clearly,  the  class  naming  each 
motive  as  it  occurs.) 

Observe  now  the  continuation  of  this  movement.  (Plays  the  re- 
mainder of  the  movement,  from  the  re-entrance  of  the  theme.)  Does 
this  resemble  either  of  the  two  parts  previously  played?  (Play  again 
until  the  class  discover  that  it  is  precisely  similar  to  the  first  part.) 

21.  Thus  Ave  find  our  sonata-piece  to  consist  of  three 
parts,  the  third  of  which  is  like  the  first,  and  the  second  is  a 
fantasia  on  the  leading  motives  of  the  first.  The  fantasia  is 
called  the  "  Elaboration." 

The  first  subject  is  called  Principal ;  the  next  the 
Second  (or  by  the  Germans  the  So7ig-group  or  "lyric 
period  ") ;  the  third,  the  Close. 

Again  observe  this.  (Plays  the  first  j^art  of  Beethoven's  Sonata 
in  C  minor,  op.  10  No.  1,  as  far  as  the  double  bur.) 

Listen  again  and  designate  the  Principal,  Second  and  Close. 
(This  will  prove  a  matter  of  some  difficulty.  The  Principal  ends  in  the 
thirty-first  measure.  The  Second  begins  in  measure  fifty-six.  The  melo- 
dious passage  beg-inning  in  measure  thirty-two  is  really  of  a  transitional 
nature.  This  will  become  plain  by  hearing  several  times  the  two  j)as- 
sages;  the  transition,  measure  thirty-two  to  forty-eight,  and  the  Second, 
fifty-six  to  eighty-six;  it  will  then  appear  that  the  latter  is  a  completely 
organized  period,  a  consistent  melody,  whereas  the  former  is  merely 
a  series  of  melodic  and  harmonic  sequences.  The  part  from  forty-(;iglit 
to  fifty-five  inclusive  is  a  pedal-point.  Measures  seventy-si.x  to 
niiK^ty-four  a  continuation  of  the  cadence  of  the  Second.  In  measures 
eighty-six,  etc.,  the  motives  of  the  Principal  are  recalled.) 

The  Elaboration  should  then   be   studied  until  its  motives  can  be 


38  HOW  TO   UNDERSTAND   MUSIC. 

referred  to  their  origin  in  the  first  part  of  the  work.  The  Elaboration 
ends  at  the  fifty-third  measure  after  the  double  bar;  at  that  place  a 
pedal  point  begins,  lasting  until  the  re-entrance  of  the  theme  in  the 
sixty-third  measure. 

The  Sonata-piece  is  of  so  important  a  character,  including,  as  it 
does,  the  genius  of  all  seriously  composed  music,  that  it  will  be  well  to 
return  to  the  subject  several  times,  at  considerable  intervals.  On  these 
occasions  new  examples  should  be  taken  up,  for  which  purpose  the  fol- 
lowing analyses  are  appended.  The  early  sonatas  in  the  Stuttgart  edi- 
tion (Ditson's  reprint)  as  far  as  op.  53,  are  analyzed  in  respect  to  their 
form,  and  will  be  found  very  convenient  for  studies  of  this  character. 

The  first  movement  in  Beethoven's  sonata  in  G,  op.  31,  has  this 
plan:  Principal  in  G,  thirty  measures;  Passag-e  fifteen;  Transition 
proper  twent}-;  Second,  in  B  maj.  and  B  min.  (twenty-three  and  ten) 
thirty-three;  partial  conclusion  thirteen.  The  Elaboration  begins  at 
the  double  bar,  and  for  twenty  measures  handles  the  second  motive  of 
the  Principal.  It  then  takes  up  the  "passage"  figure  out  of  the  first 
part  and  carries  that  through  to  the  forty-eighth  measure,  where  the 
harmony  remains  stationary  on  the  dominant  seventh  of  the  principal 
key.  This  is  continued  as  a  sort  of  pedal-point  to  the  seventy-ninth 
measure,  where  the  Princi])al  is  resumed. 

Tlie  first  movement  of  Beethoven's  Sonata  Appassionata  contains 
four  important  ideas.  The  analysis  of  the  whole  movement  is  as  fol- 
lows: 

Principal,  F  min.  (sixteen  and  eight),  twenty-four  measures;  Transi- 
tion eleven;  Second,  and  passage,  in  Ab,  fifteen;  partial  conclusion 
(ten  and  five)  fifteen.  The  Elaboration  contains  six  periods.  The  first 
from  the  Principal,  little  changed,  in  E  min.,  thirteen  measures;  then, 
the  same  motive  capriciously  handled,  passing  through  E  min.,  C  min., 
Ab  to  ]Jb,  fifteen  measures;  third,  transition,  as  before,  little  changed, 
sixteen  measures;  fourth,  leading  idea  of  the  Second,  capriciously 
evading  a  cadence  and  passing  through  D^>>,  Bb  min.,  Gi';,  B  min.,  G 
F  min.,  fourteen  measures;  fifth,  passage  work  on  diminished  seventh 
of  E,  seven  measures;  sixth,  pedal-poiut  on  C,  dominant  of  Fmin.,  the 
principal  key  of  the  work,  thus  leading  back  to  the  Principal  which 
then  follows,  five  measures.  The  Recapitvilation  closes  with  the  con 
elusion  very  much  extended.  For  whereas  in  the  first  part  the  partial 
conclusion  had  only  two  periods,  fifteen  measures  in  all,  the  full  con- 
clusion has  no  less  than  nine  periods,  and  seventy-four  measures,  as 
thus:  I.  Same  as  in  partial  conclusion,  ten.  II.  Partial  conclusion 
extended,  eleven.    III.  Motives  from  Second,  seven.   IV.  Cadence  work, 


THE   SONATA -PIECE.  39 

nine.  V.  Piissjigc,  nine.  VI.  From  transition  in  first  j)art,  four. 
VII.  Fioin  Second,  nine.  VIII.  New  matter,  eiglit.  IX.  Pedal  point 
to  close,  seven  measures. 

The  Sonata-piece  is  sonu^tiuu^s  used  for  slow  movements,  in  which 
case  the  elaboration  is  less  extended.  An  example  of  this  is  furnished 
hy  the  Adagio  of  the  sprigjjtly  Sonata  in  B  flat,  op.  22  of  Beethoven. 
Its  plan  is  this.  First  Division,  not  repeated:  Principal,  E  flat,  twelve 
meas. ;  transition,  six;  Second,  B  flat,  nine;  partial  conclusion,  three. 
Elaboratiox:  I,  motive  from  principal,  nine;  II,  seven.  Kki'Etition: 
Principal,  E  flat,  eleven;  transition,  eight;  Second  nine;  conclusion, 
three. 

Quite  a  number  of  the  last  movements  in  the  Beethoven  Sonatas 
are  designated  Finale.  These  are  generally  not  Rondos,  but  precisely 
like  the  Sonata-piece,  except  that  directly  after  the  double  bar  there 
follows  a  third  melody,  called  a  Middle-piece  ( Mittehatz)  which  takes 
the  place  of  the  Elaboration.  An  example  of  this  is  furnished  by  the 
Finale  of  the  flrst  Sonata  of  Beethoven,  F  min.,  op.  2.  These  move- 
ments may  be  distinguished  from  Rondos  even  bv  inexpericMiced  stu- 
dents, by  means  of  the  double  bar,  which  does  not  occur  in  Rondos. 

The  Sonata-piece  is  derived  from  the  "  Ancient  Binary  Form," 
which  is  the  form  of  the  Bach  gavottes,  courantes,  etc.  It  consists  of 
two  parts,  the  first  of  which  is  repeated.  In  Courantes  the  first  part  is 
generally  about  three  periods  long,  on  the  same  or  very  slightly  different 
motives.  In  the  Sonata-piece  these  three  periods  have  been  expanded 
into  separate  subjects.  After  the  double  bar  the  original  motives  were, 
worked  uj)  in  the  dominant  of  the  principal  key.  This  part  has  be- 
come the  elaboration.  A  return  to  the  subject  in  the  principal  key 
completed  the  movement,  as  in  the  Sonata-piece. 

Illustrations. 

1.  First  movement  of  Sonata  in  Y,  op.  2.  Xo.  1.  Beethoven. 

2.  Fir8t  movement  of  Sonata  iu  C  minor,  op.  10,  No.  1.  Beethoven. 

3.  First  movement  Sonata  in  G,  op.  :>1,  No.  1.  Beetlioven. 

4.  First  movement  Sonata  Appassionata,  op.  57,  Beethoven. 

5.  Adagio  from  Sonata  iu  B  flat,  op.  22.  Beethoven. 


40  HOW  TO   UNDERSTAND   MUSIC. 


LESSON     SIXTEENTH. 

THE  SONATA  AS  A  WHOLE. 

The  name  "  Sonata,*"  as  we  have  already  seen,  properly  belongs  to 
a  certain  form,  or  single  movement;  but  in  process  of  time  it  has  come 
to  be  applied  to  an  entire  work,  consisting  of  three  or  four  movements, 
only  one  of  wliich  is  properly  a  sonata.  In  this  larger  sense  all  trios,  quar- 
tetts  and  chaml)er  music  generally,  as  well  as  all  symphonies  are  sonatas, 
having-  the  same  form  as  pianoforte  sonatas,  only  somewhat  longer. 

The  sonata  as  a  whole  consists  of  three  or  four  movements,  or 
forms,  of  which  at  least  one  is  a  sonata-piece.  In  general  the  sonata-piece 
is  the  first  form.  The  second  is  an  Adagio  or  other  slow  movement. 
The  third  either  a  Rondo  or  a  Finale. 

When  the  sonata  has  four  movements,  a  Minuet,  Allegretto,  or 
Scherzo,  intervenes  between  the  slow  movement  and  the  Rondo.  Tn 
a  few  cases  this  short  movement  precedes  the  slow  movement.  The 
general  ])lan  of  the  sonata,  therefore,  is  this: 

Sonata- Piece;  Slow  Movement;  Rondo  (or  Finale). 
Or  this: 

Sonata-Piece;    Slow  Movement;    Schekzo;    Finale. 
Let  us   beffin    with   an    easv    examole.     Observe    the    Beethoven 


.-5 


Sonata  in  F,  op.  3,  No.  1.  (Plays  the  entire  sonata.)  You  recognize 
the  separate  movements,  having  already  heard  three  of  them  in  the 
previous  lessons.  What  we  wish  to  observe  now  is  that  the  movements 
thus  associated  into  a  single  work  have  no  motives  in  common,  are  in 
different  keys,  and  generally  contrasted  with  each  other;  yet  that  they 
go  together  to  make  up  a  sort  of  story,  a  musical  cycle,  which  seems 
more  and  more  satisfactory  as  we  become  better  acquainted  with  it. 
Listen  again  to  the  whole  work.     (Plays  again.) 

Sonata  Pathetique  is  an  example  of  a  sonata  in  three  movements, 
unless  we  count  the  Grave  introduction  for  an  independent  form.  Tn 
this  work  the  contrasts  are  extremely  strong,  not  only  between  the 
leadiii"-  ideas  of  each  movement  but  between  the  different  movements. 


THE   SONATA  AS  A  WHOLE.  41 

The  Introduction  opens  as  follows:  (Plays  eight  measures.)  This 
very  slow  movement  is  followed  by  a  very  tumultuo^as  one.  (Plays 
the  first  period  of  Allegro.)  And  this,  again,  by  a  wonderfully 
deep  and  reposeful  Adag-io.  (Plays  eight  measures.)  After  this  comes 
the  Rondo,  a  cheerful  yet  plaintive  movement.     (Plays  first  period.) 

These  difi"erent  movements  are  not  without  certain  bonds  of  union. 
These  are,  first,  the  Sequence  of  Keys.  The  Introduction  and  Allegro 
are  in  C  minor;  the  Adagio  in  A  flat,  a  nearly  related  key;  and  the 
Rondo,  again,  in  C  minor.  Besides  this  there  is  a  certain  RJii/thmie  Pul- 
sation common  to  all  the  movements.  Thus  a  sixteenth-note  in  the 
Grave  is  nearly  of  the  same  length  as  the  half-note  in  the  Allegro,  a 
sixteenth  in  the  Adagio,  and  a  half-note  in  the  Rondo. 

Note. — The  contrasts  in  this  sonata  are  intensified  by  the  usual,  and  prob- 
ably correct,  tempos,  wliicli  make  the  half-note  of  the  Allegro  considerably  ciuicker 
than  the  sixteenth  in  the  Introduction,  recovering  the  movement  again  in  the 
Adagio  where  the  sixteenth  corresponds  to  the  sixteentli  in  tlie  Introduction. 
The  Rondo  goes  sliglitly  faster,  but  not  quite  so  fast  as  the  Allegro,  (the  half-note 
of  the  Allegro  being  at  the  metronome  rate  of  144,  and  of  the  Rondo  about  12(5.) 

The  principal  point  to  observe  in  hearing  a  sonata  is  the  progress 
of  the  emotion,  the  cycle  of  feeling.  In  tiie  first  movement  wo  have 
generally  the  trouble,  the  conflict;  in  the  second  repose;  and  in  the 
closina;  movement  the  return  to  the  world  again. 

In  the  same  manner  should  l)e  examined  Mozart's  Sonata  in  F, 
(No.  G,  Peters'  edition,)  Beethoven's  Pastoral  Sonata,  op.  28,  the  Sonata 
in  G,  op.  31,  that  in  C  minor,  op.  10,  etc. 

This  exercise  should  be  distribute  1  over  a  considerable  lapse  of 
time;  it  occui'S  again  in  a.  later  cha])ter,     (Lesson  XXIX.) 


Paet    Third. 


THE  CONTENT  OF  MUSIC. 


LESSON   SEVENTEENTH. 

CONTENT  DEFINED. 

We  have  here  three  small  pieces  of  music,  all  well  made,  and  in 
fact  works  of  genius. 

The  first  is  the  Bach  Invention  in  F,  (  No.  8  of  the  two-part  In- 
vention) already  known  to  us.  The  second  is  the  first  two  strains  of 
the  Anclante  in  Beethoven's  Sonata  in  F  minor,  op.  57.  The  third,  the 
Schubert  Menuetto  in  B  minor,  op.  78.     Observe  them.     (Flays.) 

Let  us  consider  the  impression  they  leave  upon  our  consciousness. 
The  first  has  the  spirit  of  a  bright,  rather  talkative,  but  decidedly  talented 
person,  who  is  not  wanting  in  a  certain  mild  self-conceit.  The  second 
is  full  of  repose  and  deep  feeling.  x\s  we  hear  it  over  again  a  serious- 
ness comes  over  us,  as  when  one  enters  a  forest  in  an  autumn  day. 
The  third  has  a  spice  of  the  heroic  in  it,  as  well  as  a  vein  of  tender- 
ness; the  latter  especially  in  the  second  part  (the  trio). 

2.  Or  take,  again,  two  other  pieces.  Tlie  first  is  the  Adagio  of 
Sonata  Pathetique;  the  second  Chopin's  Polonaise  in  A.  (Plays.) 
The  first  has  a  deeply  tender  spirit,  sad  yet  comforted.  In  the  second 
we  have  the  soul  of  a  hero  and  patiiot  who  hears  his  country's  call. 

3.  Or  take  again  two  pieces  by  a  single  author,  and  for  our  first 
trial  let  them  be  by  Bach.  Tliey  are  the  Inventions  in  F,  (No.  8,  as 
before,)  and  the  three-part  Invention  in  E  minor,  No.  l-i.  (Plays.) 
The  first  has  the  character  alreadv  assigned  to  it.  The  second  is  full 
of  repose  and  quiet  meditation. 

4.  Or  take,  again,  two  pieces  by  Chopin.  Let  them  be  the  Noc- 
turne in  E  flat,  op.  9,  and  the   Polonaise  in  A,  already  heard.     (Plays.) 

42 


CONTENT  DEFINED.  43 

In  tiie  nocturne  we  have  a  soft  ami  tender  musing,  as  when  at 
twiliofht  one  sinks  into  a  tender  dav-dream. 

From  these  and  multitudes  of  otiier  examples  that  might  be  ad- 
duced it  will  be  seen  that  there  is  in  music  sometliing  beyond  a  pleas- 
ant turning  of  words  and  phrases,  something  more  than  a  symmetrical 
succession  of  well-contrasted  periods.  Every  })iece  leaves  a  greater 
or  less  effect  upon  the  feelings.  It  has  its  own  spirit  of  grave  or  gay, 
heroic  or  tender.  Tliis  inner  something,  this  soid  of  the  music  we  call 
Content. 

22,  The  whole  Content  of  a  piece  is  the  total  impression 
it  leaves  uj^on  the  most  congenial  hearer.  Or,  as  another 
has  said,  "  The  whole  Content  of  a  piece  is  all  that  the  author 
put  into  it,  technical  knowledge  and  skill,  imagination  and 
feeling."* 

The  Content  is  to  be  foiind  out  by  hearing  tlie  piece  a  sufficient 
number  of  times  for  its  meaning  to  be  ascertained.  The  Content  is 
not  some  peculiarity  of  the  piece  that  can  l)e  pointed  out,  but  the  final 
impression  it  leaves  after  repeated  hearings.  It  is  for  that  reason  tliat 
the  examples  thus  far  referred  to  have  been  such  as  were  already 
familiar  through  previous  citation. 

Pieces  lacking  Content  are  merely  empty  forms — bodies  without 
souls.     There  are  many  such  to  be  met  with. 

A  piece  may  be  of  considerable  length  and  elegantly  written  and 
yet  contain  but  a  small  Content.  Compare,  e.  g.  these  two  pieces. 
The  first  is  Fields'  nocturne  in  B  flat,  one  of  his  cleverest  works.  The 
seiSond,  Schumann's  Romance  in  F  sharp,  op.  '-28.  (Plays.)  The  first 
is  an  elegant  piece  of  verse,  but  it  says  very  little.  The  second  is  ex- 
tremely earnest  and  heartfelt;  yet  even  this  is  not  of  such  deej)  mean- 
ing as,  ,e.  r/.,  the  Largo  of  Beethoven's  second  sonata.     (Plays.) 

(These  works  should  be  repeated  until  the  pupils  or  the  greater 
part  of  them  perceive  the  differences  of  which  mention  is  made.  It  is 
a  mistake  to  tell  them  beforehand  the  qualities  they  are  to  iliid.  Let 
them  learn  to  feel  them  for  themselves.) 

As  music  is  a  much  more  complete  emotional  expression  than 
speech,  it  will  be  found  impossible  to  fitly  describe  in  words  the  general 
impression  musical  master- works  make  upon  the  feelings  of  congenial 
listeners.     "  Congenial  listeners,"   is  said,  because  when  one    lacks  a 

*J.  C.  Fillmore. 


44  HOW  TO   UNDERSTAND   MUSIC. 

musical  soul,  or  is  out  of  the  mood  for  it,  a  piece  makes  no  impres- 
sion  upon  him. 

The  principal  cliflFerence  between  the  creations  of  genius  and  those 
of  an  inferior  order  is  one  of  Content.  Any  student  who  will  study  the 
best  models,  and  follow  the  directions  of  competent  teachers,  may  master 
the  technical  art  of  the  musical  composer,  so  as  to  satisfy  a  technical 
criticism  in  all  respects.  But  unless  he  happens  also  to  have  musical 
feeling  of  a  high  order,  his  works  will  be  nearly  or  quite  wanting  in 
Content.  Even  among  the  greatest  composers  there  are  some  (Francis 
Joseph  Haydn,  e.  (j.^)  whose  works  are  masterly  in  form  and  taste,  but 
as  a  rule  elegant  rather  than  deep. 

In  general  every  piece  falls  into  one  of  two  categories.  Either  it 
is  stiinulatire  or  restful.  All  well-written  thematic  works  belong  to  the 
former  category;  lyric  movements  to  the  latter. 

The  stimulative  effect  resides  in  the  quick  movement,  and  a  vigor- 
ous harmonic  and  melodic  movement.  The  restful,  in  a  quiet  movement, 
generally  slow  or  at  least  moderate,  and  a  lyric  structure. 

List  of  Illustrations. 

1.  Bach  Invention  in  F.  (No.  8.) 

2.  Andante  from  Beethoven's  Sonata  in  F  min.,  op.  57.  (sixteen  meas.) 
8.  Schubert  Menuetto  in  B  min. 

4.  Adagio  of  Sonata  Palhetique.  (sixteen  meas.) 

5.  Chopin's  Polonaise  Militaire  in  A. 

6.  Bach's  tlu'ee-part  Invention  in  E  min.  No.  14. 

7.  Chopin  Nocturne  in  E  flat,  op.  9. 

8.  Field's  Nocturne  in  B  flat. 

9.  Scliumann's  Romance  in  F  sharp. 

10.  Largo  of  Beethoven's  Sonata  in  A,  op.  2,  No.  2. 


THE  INTELLECTUAL  AND   EMOTIONAL.  45 


LESSON   EIGHTEENTH. 

THE  INTELLECTUAL  AND  EMOTIONAL. 

Let  us  observe  again  two  of  the  pieces  out  of  the  last  lesson. 
They  are  the  Bach  Invention  in  F,  No.  8,  and  the  theme  of  tlie  Andante 
in  the  Beethoven  Sonata  appassionata,  op.  57.     (Plays.) 

Which  of  these  seems  to  mean  the  most?  Which  one  has  the 
more  feeling  in  it?  (This  point  must  be  dwelt  upon  and  the  pieces 
played  repeatedly  until  the  pupils  perceive  that  there  is  more  feeling  in 
the  Andante.)  Let  us  analyze  the  phraseology  of  the  Andante.  Its 
interest  is  chiefly  harmonic.  Its  peculiarly  serious  expression  is  due  to 
the  alternation  of  the  tonic  and  subdominant  chords,  thus: 

E-19-  1  J  I  andi        i        A 


-2    •^■ 


The  effect  of  gravity  is  also  partly  due  to  the  low  position  of  the 
chords  in  absolute  pitch,  especially  of  the  seventh-chord  which  opens 
the  second  period.  To  the  same  impression  the  slow  movement  con- 
duces. The  passage  presents  nothing  of  outward  sensuous  melody  for 
the  ear  to  seize  upon. 

On  the  other  hand,  observe  again  the  phraseology  of  the  Bach  In- 
ventioia.  (See  Chaj).  IV,  where  it  is  analyzed.)  It  consists  almost 
wholly  of  two  motives  which  are  repeated  many  times  in  different  keys 
and  in  both  voices.  The  first  is  the  bold  arjDCggio  figure,  the  first  six 
notes  of  the  treble.  The  last  tone  of  this  motive  is  also  the  first  of  the 
second  fio^ure,  the  descendino-  run  in  sixteenths.  These  two  motives 
together  make  a  phrase  and  form  the  principal  idea  of  the  piece. 

This  phrase  occurs  entire  ten  times  in  the  Invention;  besides  these 
the  first  motive  occurs  six  times,  and  an  inverted  imitation  of  it  (see 
measure  21,  in  the  bass)  several  times  more. 

Thus  it  would  hardly  be  too  much  to  say  that  the  entire  Invention 
consists  of  nothing  more  than  this  single  idea,  and  that  the  two  speakers, 
or  rather  singers  (the  treble  and  bass)  arrive  at  nothing  new  after  all 
their  prolonged  discussion. 


46  now  TO    UNDERSTAND   MUSIC. 

In  the  harmonic  structure  of  this  piece  we  find  a  decided  plan.  It 
begins  in  F  major.  At  the  seventh  measure  it  goes  into  C  major,  and 
makes  a  cadence  in  this  key  in  the  eleventh  measure,  closing  w^ith  the 
accent  of  the  tw^elfth  measure.  Then  ensues  the  middle  part  which 
begins  in  C,  passes  into  G  minor,  D  minor,  B  flat  and  so  back  to  F. 
The  climax  occurs  in  the  nineteenth  or  twenty-first  measures. 

The  construction  of  so  elaborate  a  piece  from  so  few  materials  is 
an  evidence  ot  intellectual  activity  on  the  part  of  the  composer. 

3.  Another  example  of  a  similar  mode  of  construction  is  afforded 
by  the  Bach  Invention  in  C,  No.  1,  analyzed  in  Chap.  IV.  This  work 
also  consists  of  a  single  phrase  imitated,  transformed,  transposed,  car- 
ried through  C,  G,  D  minor,  A  minor,  F,  and  so  back  to  C,  and  all  this 
within  a  compass  of  twenty-two  measures. 

3.  Yet  another  exami-)le  of  this  mode  of  construction  is  afforded 
by  the  Bach  Fugue  in  C  minor.      (Clavier,  No.  2,  Plays.) 

In  all  these  a  leading  subject  is  taken  as  a  text,  not  to  come  back 
to  and  repeat  entire  as  in  the  Rondo  and  other  binary  and  ternary 
forms,  but  to  ico7'k  icith,  to  transpose  and  transform,  to  elaborate  by 
means  of  harmonic  treatment  until  an  entire  movement  is  built  up  out 
of  it.  This  is  the  type  of  musical  composition  as  it  existed  in  Bach's 
time.  Some  pieces  are  more  emotional  tlian  others,  but  all  of  them  are 
built  up  on  this  plan.  They  contain  Musical  TJiought,  These  trans- 
formations of  motive  are  equivalent  to  reasoning"  in  language.  To  ap- 
preciate them  properly  one  needs  to  follow  the  idea  through  all  its 
modifications  and  modulations. 

The  opposite  of  this  mode  of  structure,  as  we  have  long  ago  seen, 
is  the  lyric,  the  natural  type  of  the  emotional.  Observe  now,  for  the 
sake  of  the  contrast,  the  first  sixteen  measures  of  the  Beethoven  Adao-io 
from  the  Sonata  in  F,  op.  2,  No.  1.     (Plays.) 

In  general  the  following  may  be  advanced  as  a  sound  doctrine 
regarding  the  Intellectual  in  Music. 

All  thematic  music  is  of  an  intellectual  character.  In  order  to 
fully  appreciate  it,  the  hearer  needs  to  firmly  seize  the  leading  motive, 
so  as  to  be  able  to  follow  it  through  its  various  transformations.  Such 
a  following  out  and  participating  in  the  author's  musical  thought,  im- 
plies an  unconscious  comparison  of  the  motive  with  its  various  trans- 
formations. All  thematic  music  is  characterized  by  more  varied  modu- 
lations and  a  more  a^rtificially  contrived,  or  at  least  a  freer,  harmonic 
structure  than  is  found  in  lyric.  Here,  again,  in  this  elaborate  harmonic 
setting,  we  have  the  trace  of  mastership  on  the  part  of  the  composer ; 
a  token  of  his  musical  thinking^  as  distinguished  from  merely  meditating. 


THE   INTELLECTUAL  AND   EMOTIONAL.  47 

Yet  this  kind  of  music  is  not  uneinotioiiul.  On  tlio  conlrary,  it  is 
sometimes  intensely  exciting.  AVhen  tliis  is  tlie  case  the  eirect  is  due. 
to  a  fitly  chosen  harmonic  pi'ogression  ])y  means  of  which  a  clinia.v  is 
attained,  and  the  intensification  of  the  effect  thi-ouafh  the  reiteration  of 
the  leading-  motives. 

The  leading  motive  is  repeated  many  times  in  all  music,  for  in  this 
way  only  can  unity  be  attained  iu  a  music-piece.  There  is  this  differ- 
ence, however,  between  the  repetitions  in  thematic  and  lyric  pieces, 
viz.,  that  in  lyric  pieces  the  motive  is  repeated  unchanged,  but  in  the- 
mitic  pieces  with  manifold  changes. 

Thematic  music  is  at  first  unattractive  to  hearers  in  general,  because 
they  do  not  know  how  to  liear  it  properly.  When  they  hear  the  same 
piece  many  times  they  become  reconciled  to  it,  and  in  the  end  enjoy  it 
and  even  prefer  it  to  lyric  pieces  they  at  first  thought  more  beautiful. 

One  of  the  most  decided  examples  of  tlie  intellectual  in  music  is 
afforded  by  counterpoint.  (See  Lesson  V.)  The  simplest  theme 
treated  contrapuntally  acquires  a  dig'nity  which  was  before  wanting. 
In  double  counterpoint  the  intellectual  is  even  more  strongly  maikcd. 

The  strictest  type  of  musical  composition  is  the  Fugue.  In  this  a 
single  subject  forms  the  substance  of  it.  This  subject  can  not  be  trans- 
formed with  absolute  freedom,  but  each  imitation  must  take  place  on  a 
particular  degree  of  the  scale.  Thus,  e.  g.,  if  the  antecedent  is  in  the 
tonic,  the  imitation  or  answer  ("  consequent''')  must  be  on  the  dominant, 
and  vice  versa.  When  a  modulation  takes  place  and  the  subject  ap- 
pears in  a  foreign  key,  the  imitation  takes  place  in  the  dominant  of  that. 

Besides  these  restrictions  there  is  also  the  "  counter-subject "  which 
every  voice  must  take  ujd  immediately  after  finishing  the  subject.  Thus 
the  counter-subject  forms  almost  an  invariable  accompaniment  to  the 
subject  throughout  the  Fugue.  In  spite  of  these  limitations  Bach  was 
able  to  use  this  form  with  such  freedom  as  to  leave  us  a  verv  sxreat 
number  of  Fugues  which  are  not  only  masterly  in  their  construction  but 
emotional  and  thoroughly  free  and  musical,  and  among  the  most  cher- 
ished treasures  of  the  musician's  repertory. 

Note. — Students  desirinsi'  to  study  Fugue  analytically  can  do  so  in  ^Ir. 
James  Pliggs'  "Fugue"  (iu  Novello's  "  Music  Primers,"  price  one  dollar.) 
Those  able  to  read  German  will  find  a  very  interesting  treatment  of  the  subject  in 
the  third  vol.  of  J.  C.  Lobe's  Kompositionslehre,  in  which  he  bases  his  theories 
on  Bach's  remarkable  work  "  Die  Kunst  der  Fugue  "  (Peters'  Ed.)  a  series  of 
twenty-four  Fugues  on  a  single  subject. 

The  subject  of  this  lesson  may  be  continued  through  another  one, 


48 


HOW  TO   UNDEKSTAND   MUSIC. 


in    which    case    the    "list  of   additional    illustrations"   will    be   found 

useful. 

List  of  Illustrations. 

1.  Bach's  Invention  in  F. 

2.  Andante  from  Beethoven's  op.  57.  (sixteen  meas.) 

3.  Bach's  Invention  in  C,  No.  1. 

i.  Allegro  from  Beethoven's  Sonata  in  F,  op.  3  No.  1. 

Additional  Illustrations,  not  analyzed  above. 

1.  Bach's  Fugue  in  C  minor,  Clavier,  No.  3. 

2.  Schubort  Impromiitu  in  C  minor,  op.  90,  No.  1. 

3.  Bach's  Fugue  in  G  minor,  Clavier,  No.  IG. 

4.  Schubert  Impromptu  in  E  flat,  op.  90,  No.  3. 

5.  Lefebre-Wcly's  "  Titania." 

6.  First  movement  of  piano  solo  in  Chopin's  Concerto  in  E  minor,  op.  11. 

7.  Handel  Chacoune  and  variations  in  G.     No.  3  of  Kuhler's  Handel's  "  Lessons, 
Pieces,  and  Fugues."     (Peters'  Ed.  No.  40.) 

8.  Handel's  Capriccio  in  G  minor,  No.  3  of  "  Seven  Pieces  "  in  same  volume. 


LESSON     NINETEENTH. 


PASSAGES,  CADENZAS  AND  EFFECTS. 


Sequence  is  the  general  name  given  to  the  immediate  repetition  of 
a  phrase  or  motive  whether  in  unchanged  or  modified  form. 

In  thematically  composed  periods  the  motive  is  followed  b}^  several 
]-epetitions  of  it  in  a  somewhat  changed  form.  The  Sequence  thus 
formed  proceeds  no  farther  than  compatible  with  a  graceful  return  to 
the  key  in  which  the  period  is  intended  to  conclude.  A  Sequence  not 
thus  returning:  and  completing  itself  into  a  period,  becomes  either  an 
independent  section, or  a  passage,  which  is  the  general  name  given  to 
such  parts  of  a  music- piece  as  do  not  fall  into  periods.  The  following, 
e.  g.,  is  a  very  simple  passage. 


Ex.  20. 


*3^3^«E£ 


m 


-0- 


Here  is  one  slightly  more  complex 
Ex.  21. 


'=i-^-^#*=^i-^s===i 


mi] 


PASSAGES,  CADENZAS  AND  EFFECTS.  4'J 

Observe  the  I'ullowing-  two  passages  from  Cramer's  First  study. 
(Plays  as  far  as  the  middle  of  the  eighth  measure.)  Observe  also  the 
Dassa^e  descendinir  from  tlie  second  l)eat  of  Ihe  tcutli  measure  to  the 
iirst  note  of  the  thirteenth.  (Plays.)  Also  the  ascending  and  descend- 
ino-  passages  following.  (Plays  the  whole  study.)  Explain  the  con- 
struction of  these  passages.  Thus,  e.  <j.^  the  right  hand  ascends  in  the 
thirteenth  measure  and  three  measures  after  by  sequencing  on  the 
figure  at  a  Ex.  22. 

Later  it  descends  by  sequencing  on  figure  i,  Ex.  22. 


{In 


^Ei^iL= 


X-X-C=f^-=^-\ 


etc. 


Such  passages  as  these  dilfer  from  regularly  constructed  plu-ases 
in  this,  that  being  composed  of  a  merely  artificial  sequencing  on  a 
single  motive,  whatever  sensible  ox  definite  may  come  of  it  must  be 
owino-  to  the  harmonic  treatment  and  progressions. 

Passages  in  musical  composition  serve  the  purpose  of  gracefully 
connectinti-  one  part  of  a  work  with  another,  and  of  relieving  the  atten- 
tion from  the  strain  of  the  thoughtful  or  deeply  expressive  periods  be- 
tween which  they  intervene.  In  this  use  we  find  them  in  Bach,  Handel, 
Haydn,  Mozart,  Beethoven,  and  in  fact  all  good  composers.  Tn  modern 
writers,  however,  they  have  been  very  much  developed  and  have  been 
made  the  vehicle  for  the  display  of  bravoura  effect,  especially  on  the 
pianoforte.  The  effectiveness  of  a  passage  is  in  proportion  to  its  appar- 
ent difficulty,  which  impression,  again,  is  derived  either  from  the  visible 
labor  of  the  player,  or  from  the  inability  of  the  hearer  to  understand 
the  construction  of  it.  Any  such  Sequence  as  those  in  Exs.  20  and 
21  is  easily  comprehended  by  even  an  inexperienced  ear.  But  we 
find  in  various  modern  works  passages  not  susceptible  of  ready  analysis 
bv  the  ear,  especially  when  played  rapidly.  Thus,  e.  g.,  observe  this 
cadenza  from  Liszt's  Rigoletto.  (Plays  Chromatic  Cadenza  on  p.  4  of 
that  piece.)  When  played  rapidly  it  produces  an  immense  effect.  Tt 
is  derived  from  the  chromatic  scale.  Let  us  build  it.  Suppo-^o  we 
take  a  descending  chromatic  scale  of  one  octave. 


^ — '--' ' '  ^^—'  •  • '  ■ — ^- 


Instead  of    descending   simply,  in    tliis    way,    let  us  go   down    Iiy 
4 


50 


HOW  TO   UNDERSTAND   MUSIC. 


sequences    of    a    motive   ascending    one     degree,     played    with    both 
iiands. 

^     .    s         s         s         s 


Ex.  24.    -^^-V^-^^i i g---g=;<-^=  « 


c. 


Now  let  the  little   finger    play  a  chromatic  scale  a  sixth  above  the 
treble  and  a  sixth  below  the  alto.     Then   tlie  right  hand  will  play  this: 


Ex.  25. 


=^r^=Er^^ 


^^•^^^,^^^^^=&i= 


etc. 


zt__' 


And  the  left  hand  tliis: 


--«■  Sii^Sillilfp -■ 


Y-V-Y- 


And  both  hands  this: 


Ex.  37. 


t2-4-  *       bbnJ- 


^F=-T 


r — I — T — r 


In  Chopin's  works  we  find  a  great  variety  of  passages  consisting 
generally  of  a  combination  of  sequences  of  diminished  sevenths  re- 
solved chromatically.  Of  such  a  kind  are,  e,  </.,  the  following  from  the 
Concerto  in  E  minor.  Here  (p.  105  of  the  Augener  edition  of  Klind- 
worth's  Chopin)  are  two  ascending  sequences  of  diminished  chords, 
diiferently  treated  (second  and  third  lines).* 

On  p.  168  of  the  same  edition  we  have  a  different  passage  con- 
structed on  the  same  general  plan.  (See  in  general,  the  chain  of  pas- 
sages following  the  soft  melody  in  C,  middle  part  of  the  first  movement 
of  the  Chopin  Concerto.) 

Reference  may  also  be  made  if  convenient  to  the  Cadenza  in  the 
Rive-King  edition  of  Liszt's  Second  Rhapsody. 

♦Reference  is  here  made  to  the  sequences  immediately  preceding  the  close 
of  the  solo  part  in  E  major,  first  movement  of  Concerto  in  E  minor. 


THE   SEXSUOUS   AND   THE    IDEALIZED.  51 

List  of  Ilm'stiiatioxs. 


1.  Cramer's  First  Study. 

2.  Cadenza  from  Liszt's  "  Rigoletto." 

3.  Passages  from  Cliopiu  Concerto  in  E  minor. 


LESSON    TWENTIETH. 

THE  SENSUOUS  AND  THE  IDEALIZED. 

In  dance  music  all  its  good  harmony  and  melody,  and  grace- 
ful treatment  generally,  are  made  subservient  to  the  sense  of  physical 
motion.  Thus,  e.  //.,  observe  the  following.  (Plays  a  part  of  Strauss' 
"  Blue  Danube  Waltzes.")  This  music  unquestionably  is  genuine  and 
valid,  but  it  appeals  mainly  to  the  dancing  instinct.  As  played  by  the 
the  orchestra  it  is  much  more  voluptuous  than  it  appears  on  the  piano- 
foi'te. 

Observe  now  another  waltz.  (Plays  Karl  Merz's  "•  Pearl  of  the 
Sea.")  In  this  we  have  the  dance-instinct  also  addressed,  but  not  in  so 
enticing  and  voluptuous  forms  as  in  the  Strauss  music.  This  belongs 
to  the  class  of  "  drawing-room  waltzes,"  and  partakes  of  the  naivete  of 
the  People's  Song. 

Again,  take  a  still  less  pronounced  type.  (Plays  the  Cho{)in 
Waltz  in  E  flat,  op.  18.)  Here  we  have  also  a  waltz;  the  same  rhythm 
and  the  same  form.  Yet  in  this  piece  the  sensuous  element  has  retired. 
It  is  not  now  an  actual  flesh-and-blood  dance  to  which  the  composer 
invites  us,  but  to  a  poetically  conceived  meditation  upon  a  waltz. 
Here  the  fancy  runs  wild.  Tiiis  we  see  in  the  extremely  rapid  tempo, 
which  is  more  than  three  times  as  rapid  as  a  waltz  could  be  danced. 

The  Strauss  "Blue  Danube"  reminds  us  of  the  whirling  ball- 
room, the  thickly  perfumed  air,  the  blazing  lights,  and  all  the  sensuous 
intoxication  that  goes  with  it.  The  ^lerz  waltz  is  still  a  danci',  a  llcsh- 
and-blood  dance,  but  no  lonarer  so  exciting.  Tt  is  a  nice,  heartv  faiiiilv 
dance  under  the  trees  in  open  sky.  The  Chopin  waltz  leaves  the  physi- 
cal scene  entirelv.     This  is  the  idealized  dance. 

Observe  again  the  following.  (Plays  the  waltz  fiom  (.ounod's 
"Faust.")      And  then  this.      (Plays  the  Chopin  Waltz  in  A  flat,  op.  42.) 

Here  again  we  have  the  same  contrast.     One  of  the  pieces  invites 


'  53  HOW  TO   UNDERSTAND   MUSIC. 

us  to  a  real  waltz;  the  other  to  an  idealized  revery.  Which  is  the 
material?     And  which  the  poetic? 

If  convenient  it  will  be  well  to  show  here  how  the  physical  "  Faust  " 
waltz  is  itself  idealized,  although  in  a  sensational  direction,  in  Liszt's 
arrang'ement  of  Gounod's  "  Faust."  Here  we  have  the  dreamy  melody 
in  the  middle  of  the  waltz  dwelt  upon  and  idealized,  and  the  slow 
movement  interposed,  recalling  the  first  meeting  of  Faust  and 
Marguerita. 

The  same  distinction  between  dance  music  proper,  and  parlor 
music  in  dance  forms,  prevails  throughout  all  the  movements  originally 
designed  to  control  the  physical  motions,  such  as  the  March,  Waltz, 
Polka,  Mazurka,  Minuet,  etc.  It  will  be  felt  by  the  observant  that 
those  pieces  which  most  strongly  suggest  and  invite  to  physical  motions 
(as  the  Strauss  waltzes,  for  example)  st6p  there,  and  do  not  possess  a 
poetic  Content. 

List  of  Illustrations. 

1.  Strauss'  Blue  Danube  Waltz.    (Any  other  supe?'io,r  dancing  waltz  will  do.) 

2.  Karl  Merz's  "  Pearl  of  the  Sea," 
o.  Chopin  Waltz  in  E  tlat,  op.  18. 

4.  Waltz  from  Gounod's  "  Faust."     (Sydney  Smith,  perhaps.) 

5.  Chopin  Waltz  in  A  flat,  op.  42. 

6.  Liszt's  Grouuod's  "  Faust." 


LESSON     TWENTY- FIRST. 

DESCRIPTIVE,  SUGGESTIVE  AND  POETIC  MUSIC. 

Quite  in  line  with  the  previous  lesson,  we  have  here  to  do  with  music 
in  which  certain  external  events  or  objects  are  referred  to  by  means  of 
music. 

Observe  the  following.  (Plays  Henry  Weber's  "  The  Storm," 
but  without  naming  it.)  Ask  the  question  :  "  Do  an}-  of  the 
class  know  this  piece?"  If  none  of  them  know  it,  ask  them  to 
tell  what  it  means.  It  will  prove  a  very  amusing  experiment, 
the  accounts  will  be  so  diflferent.  If  any  of  the  class  already 
know  it,  ask  them  to  remain  quiet,  and  allow  the  others  to  give  their 
explanation  of  it.  When  this  has  been  done,  read  aloud  the  author's 
prefatory  note  as  follows: 


DESCRIPTIVE,  SUGGESTIVE  AND   POETK^   :\IUSIC.  53 

"The  Storm.  An  Tmitatioji  of  Natur(^(!)  Tlie  followino- is  tlie 
idea  conveyed  by  this  composition.  ^V  siie])hei-d  is  goino-  liome  witli 
his  flock — while  he  is  playing  an  air  on  his  flute  a  storm  approaches. 
The  thunder,  the  roaring  of  the  water,  the  crash  of  trees  and  tlie  fire- 
bellsare  to  be  heard  in  succession."  (Plays  again.)  Asan  "imitation 
of  nature"  tliis  pretty  little  piece  is  scarcely  successful.  For  altlii)UL;li 
the  flute  and  the  muflflcHi  thimder  are  tolerably  suo-irested,  the  crash  of 
trees  and  roaring  of  the  waters  do  not  appear.  The  fire-bells  also 
would  scarcely  be  heard  in  a  pastoral  neighborliood.  However,  this  is 
a  point  relating  to  the  poetic  conception,  with  which  we  have  reallv 
nothing  to  do.  Our  question  is,  Do  these  musical  figures  really  repre- 
sent or  remind  us  of  the  natural  objects  to  which  the  author  refers 
them?  To  this  question  we  must  return  a  decided  negative.  Even 
with  all  the  resources  of  the  modern  orchestra  in  the  hands  of  such  a 
master  as  Wagner,  a  storm  is  very  imperfectly  represented. 

Again,  observe  this.  (Plays  Mr.  G.  D.  Wilson's  "  Shepherd  Boy.") 
This  pretty  little  piece  has  no  imitation  of  nature  as  such.  A  name  is 
given  it  which  serves  as  a  starting  point.  But  the  music  gives  us 
neither  the  rocks,  the  grass,  the  sheep,  the  sheep-bells,  the  boy,  his 
crook,  or  the  l:)right  sky  over  head,  but  only  the  peaceful  and  monoton- 
ous spirit  of  such  a  scene.     This  is  an  Idyll  and  not  a  description. 

For  a  still  more  fortunate  example  observe  this.  (Plays  Schvi- 
niann's  "  The  Hobby  Horse"  No.  8,  out  of  the  Album  for  the  Young, 
without  naming  it.  When  the  piece'is  concluded,  ask  the  class  their 
impression  of  it,  as  to  what  it  means  or  represents.)  In  such  a  piece 
as  this  it  is  not  possible  to  infer  the  meaning  of  the  author  from  simply 
hearing  the  piece.  But  when  the  clue  is  aff'orded,  the  suitability  of 
the  music  becomes  apparent.  ' 

Observe  also  "The  Jollv  Farmer"  No.  10  in  the  Album  for  the 
Young.  (Plays.)  Tliis  piece  might  be  called  by  any  other  name  that 
would  be  sufficient  to  account  for  its  simplicity,  heartiness  and  satisfac- 
tion. Schumann's  title  is  on  the  whole  the  easiest  hypothesis  by  which 
to  account  for  it. 

Plavs  also  "Santa  Glaus"  No.  12  in  the  All)uni,  the  Snrino-  soiio- 
No.  15,  the  little  Romance  No.  19,  and  the  Sailor's  song  No.  37. 

It  Avlll  also  be  advantageous  to  study  in  this  connection,  as  time 
serves,  Schumann's  "  Scenes  from  Ghildhood"  op.  15.  These  thirteen 
little  pieces  are  extremely  varied  and  clever,  and  belong  rather  to 
poetic,  music,  than  to  descriptive  music  proper. 

The  difference  here  implied  is  this:  —  In  descriptive  music  it  is 
attempted  to  represent  the  external  traits  of  objects  by  means  of  music, 


54  HOW  TO   UNDERSTAND   MUSIC. 

in  such  a  way  that  a  person  hearing  the  music  will  recall  the  object, 
which  is  'practically  impossible.  In  poetic  music  it  is  attempted  to 
represent  the  spirit  of  such  and  such  natural  objects  or  experiences. 
The  title  serves  to  connect  the  two.  Whoever  hears  the  music  with- 
out knowing  the  title,  hears  only  some  very  animated  and  widely  dif- 
ferent pieces  of  music,  interesting  and  fresh  considered  simply  as 
music.  When  he  knows  the  title  he  has  in  that  a  clue  to  the  com- 
poser's intention  or  desire  of  representing  something  beyond  the  actual 
content  of  the  music  as  such.  Such  pieces,  therefore,  form  useful 
studv  lor  pupils  not  yet  thoroughly  musical. 

Of  the  same  class  Init  in  a  lower  grade  are  the  fanciful  titles  so 
common  in  parlor  jjieces,  such  as  "  Warblings  at  Eve,"  "  Monastery 
Bells,"  "  Maiden's  Prayer,"  etc.,  in  all  of  which  the  title  was  an  after- 
thought, put  on  to  sell  the  piece,  frequently,  indeed,  assigned  by  some 
other  than  the  composer,  and  often  with  very  little  reference  to  the 
actual  Content  of  the  music- 
Observe  again  this.  (Plays  the  "Battle  of  Prague,"  without  aii- 
nouncino-  title.)  This,  ao-ain,  is  an  indenendent  and  fairly  well  made 
piece  of  music,  a  Sonata,  indeed.  That  the  low  tones  represent  can- 
non no  one  would  know  except  he  knew  the  intention. 

If  convenient  it  will  prove  very  interesting  in  this  connection  to 
observe  a  four-hand  performance  of  Wagner's  "Ride  of  the  Valkyrie," 
one  of  the  most  singular  compositions  before  the  public. 

There  are  also  at  least  two  of  the  Beethoven  Sonatas  which  are  of 
especial  interest  in  this  connection.  They  are  "The  Pastorale  "  op.  28, 
and  "The  Adieux,  the  Absence  and  the  Return,"  op.  8-i. 

List  of  Illustrations. 

1.  "The  Storm ''  by  Henry  Weber. 

2.  "The  Shepherd  Boy,"  G.  D.  Wilson. 

3.  "The  Hobby  Horse,"  etc.  from  Schumann's  "Album  for  the  Young,"  op.  68. 

4.  "The  Battle  of  Prague,"  byKotzwara. 

5.  "  Scenes  from  Childhood"  op.  15.  Schumann. 
0.  "Sonata  Pastorale,"  op.  28.  Beethoven. 

7.  "The  Adieux,  the  Ab.sence,  and  the  Return."     Sonata  op.  81.  Beethoven. 


Part   ForRTii. 


STUDIES  IN  ART  AND  THE  BEAUTIFUL 


CHAPTER    TWENTY-SECONB. 


SECTIOX    FIRST.       THE    IDEAL    AND    ITS    PHASES. 

Every  thing  that  is,  stone,  phmt,  tree,  hindseape,  Iniilding-,  animal 
and  man  himself,  presents  itself  to  the  mind  in  two  aspects.  First  as 
an  actual  appearance,  an  established  and  ordered  existence,  proceeding 
according  to  its  own  laws  and  expressing  its  own  nature.  .Nian  at 
first  accepts  it  in  unquestioning  simj)licity.  Presently,  however,  tiiis 
unquestioning  acceptance  of  whatever  /.s  because  it  /.s,  gives  place  to 
a  spirit  of  inquiry  which  seeks  to  know  irhy  it  is.  Tlie  answer  to  this 
gives  the  second  aspect  of  things;  namely,  that  every  thing  that  is 
is  the  representation  or  embodiment  of  some  particular  i(7(((,  which 
existed  before  the  appearance  of  it,  either  in  the  present  individual  or 
any  of  its  predecessors. 

Thus  if  we  attentively  consider  a  piece  of  crystalline  rock,  as 
of  granite,  we  find  it  first  a  merely  natural  appearance,  an  inanimate 
substance,  a  piece  of  matter.  But  when  we  jneditate  upon  it  more 
deeply,  we  perceive  that  its  particles  are  organized  into  crystals, 
determinate  forms,  in  the  construction  of  which  the  particles  of  matter 
have  followed  certain  laws.  Thus,  beyond  all  we  can  learn  of  the  ])i(>ce 
of  granite  by  mere  inspection,  there  lies  back  of  this  its  /(/ir,  tlu^  ruHng 
principle  of  its  tt/pe;  the  idea,  of  which  granite  is  the  expression.  So 
every  piece  of  inorganic  nature  manifests  laws,  i(l(>as,  which  are  liack 
of  the  natural  appearance. 

In  an  organized  existence,  as,  e.  (].,  a  plant,  we  recognize  the  idea 
much  more  clearly.  For,  whereas  in  the  crystal  the  inq)eliing  force 
acted  in  the  original  formation  once  for  all,  in  the  plant  we  have  be- 
fore us  a  continual   creation.     With   its    leaves  open    to   the  sunshine 


56  HOW  TO   UNDERSTAND   MUSIC. 

and  showers,  and  its  rootlets  groping  in  tlie  soil  for  moisture  and 
other  elements  of  its  beino-  it  o-athers  to  itself  from  the  world  about  it 
whatever  is  most  necessary  for  its  growth,  and  shapes  and  fashions  it 
according  to  the  organic  law  of  its  species.  Here,  then,  we  come  upon 
certain  rudimental  appearances  of  self-determination;  or,  as  we  might 
otherwise  say,  upon  a  higher  step  in  the  representation  of  idea. 

How  much  stronger  is  the  expression  of  idea  in  a  tree!  Take 
the  oak.  The  acorn  is  a  little  fruit,  scarcely  larger  than  the  end 
of  vour  finger.  Planted,' it  yields  but  a  tender  shoot.  But  when  a 
hundred  suns  of  summer  have  shone  upon  it,  and  a  century's  winds  and 
storms  l^eat  upon  it,  how  sturdy  and  grand  it  stands!  There  is  in  the 
oak  an  idea^  the  law  of  its  being;  and  sunshine,  rain,  storm  and  pass- 
ing years,  but  afford  it  opportunity  to  bring  this  idea  to  expression — to 
work  out  its  own  ideal. 

Again,  consider  the  animal,  more  highly  organized,  gifted  with 
self-movement,  and  with  a  certain  amount  of  mind  and  intelligence; 
nay,even  with  the  more  precious  qualities  of  friendship  and  affection. 
Yet  each  kind  is  true  to  its  type.  Individuals  differ,  but  there  is  be- 
hind all  these  variations  the  idea  of  the  species,  the  type  of  the  kind, 
the  ideal.,  from  which  no  one  varies  in  any  radical  degree. 

Thus  we  come  to  the  still  higher  expression  of  idea  in  man,  whose 
glory  is  his  mind;  his  complex  and  wonderful  intellectual  and  emotional 
luiture,  the  image  of  God.  This  it  is  which  investigates  the  outer 
world,  arranges  her  phenomena  into  orderly  sequence  of  cause  and 
effect,  and  classifies  her  appearances  according  to  their  essential 
character.  It  is  the  mind  of  man  which  multiplies  the  wants  and 
capacities  of  life,  as  well  as  the  means  of  gratifying  them.  Still  more 
the  mind  shows  itself  in  literature,  and  here  in  such  true  sense  as  to 
make  all  these  other  achievements  seem  of  no  meaning  and  significance 
as  if  they  were  indeed  only  the  very  "small  dust  of  the  balance.  "  Thus 
we  have  in  the  lower  department  of  mental  effort,  what  we  might  call  the 
"matter-of-fact"  part  of  literature, the  newspapers  and  magazines  through 
which  man  learns  of  the  doings  and  ideas  of  his  fellow  men  throughout 
the  world,  and  the  histories  in  which  he  learns  of  the  rise  and  fall  of 
nations,  and  reads  the  lessons  of  the  past.  How  wonderful  is  the  evi- 
dence these  give  of  far-reaching  human  thought  and  sympathy  ! 
But  above  this  great  practical  department  of  literature  which  relates 
itself  to  material  success,  we  find  Poetry,  and  Imaginative  Composition 
of  every  kind,  in  which  the  human  spirit  soars  into  higher  regions  of 
fancy  and  feeling.  Here  the  soul  is  represented  as  unhampered  by 
accidents  of  fortune,  or  as  triumphing   over  them   in    the  exuberant 


THE   IDEAL   AND    ITS   PHASES.  57 

force  of  its  own  individuality.  Nay  !  the  spirit  seai'ches  into 
the  eternal  principles  of  good  and  evil, 'and  sets  them  in  order  before 
us.  This  progress  goes  yet  further  in  Art.  Temple,  Statue,  Picture, 
Symphony  and  Psalm,  all  unite  in  giving  evidence  of  a  spiiilual 
activity  in  man  which  rises  above  the  i-outine  of  everyday  life  and  its 
necessities,  into  the  cleai-  and  more  enduiing  radiance  of  the  ideal. 

Thus,  whether  we  consider  the  progress  of  creation,  from  the  rudi- 
mental  forms  of  the  earliest  geological  periods  to  the  highly  organized 
beings  which  occupy  the  earth  at  tlie  present  time;  or  if  we  stud}-  one 
natural  appearance  after  another  and  see  how  plainly  each  bears  wit- 
ness to  the  existence  of  a  higher  law,  an  eternal  idea  which  determines 
its  appearance,  and  then  again  coml)ine  these  into  an  ascending  system 
of  excellence: — in  either  case  we  have  to  do  with  ideas  and  the  Ideal; 
and  so  with  everlasting  truth,  the  inner  nature  of  things,  the  soul,  and 
immortal  interests;  for  the  ideal  is  the  abiding,  the  eternal.  As 
Schopenhauer  says: 

*•'  For  thousands  of  years  a  chemical  force  slumbered  in  matter  luitil 
the  touch  of  re-agents  set  it  free;  then  it  appeared,  but  time  is  only  for 
the  appearance  not  for  the  force  itself.  For  thousands  of  years  galvan- 
ism slept  in  copper  and  zinc,  and  they  Ijoth  lay  resting  over  against 
silver,  which  as  soon  as  all  three  are  combined  under  proper  conditions 
must  burst  out  in  flames.  Even  in  a  dry  seed-corn  foi'  thi-ee  thousand 
years  the  slumbering  force  lay  hidden  which  in  the  final  appearance  of 
suitable  circumstances  bursts  out  as  plant.  But,  as  before,  time  is  not 
for  tlie  idea  itself,  but  only  for  its  appearance." 

Ao-ain,  let  us  observe  further  that  in  no  sino-le  individual  is  its  own 
ideal  fully  realized.  Even  in  the  lowest  types,  as  crystals,  it  is  rare  to 
find  fully  formed  specimens,  but  rather  they  mostly  appear  witli  a  corner 
broken  here,  a  line  or  ])ro.portion  distorted  there,  and  so  on.  On  the 
higher  plane  of  plant-life  the  difficulty  of  discovering  a  perfect  speci- 
men is  much  greater.  In  one  the  branches  are  not  symmetrical;  in 
another  the  stem  is  distorted;  even  a  single  perfect  leaf  is  rarely  seen. 
A  perfectly  formed  animal  is  equally  rare.  Whetiier  belonging  to  the 
lowest  grades  of  animal  life  or  the  highest,  or  at  any  intermediate  place 
in  the  scale,  in  almost  every  individual  we  llnd  some  imperfection  or 
other;  a  hard  winter,  a  season  of  famine,  an  untimely  ;uid  unsuccessful 
struggle  for  supremacy; — some  one  or  all  of  these  liave  interfered  with 
the  developmentof  the  animal,  and  have  left  their  mark  of  imperfection 
upon  him.  In  man  is  this  much  more  the  case.  A  form  perfect  in  all 
its  proportions  we  never  see.  It  is  even  difficidt  to  discover  perfectly 
proportioned  single  members.      In  his  mental  disposition,  likewise,  the 


58  HOAV  TO   UNDERSTAND   MUSIC. 

same  imperfect  results  are  observed.  For  wherever  we  search  we  dis- 
cover no  complete  man;  but  on  the  coutrary  unbalanced  faculties,  con- 
tradictory impulses,  imperfectly  developed  reasoning  powers,  undis- 
ciplined affections,  and  in  short  a  general  want  of  harmony  and  coher- 
ence in  the  manifold  capacities  of  the  soul. 

Nevertheless,  in  all  these  innumerable  degrees  of  manifestation,, 
the  Ideal  itself  remains  steadfast  and  eternal.  For  although  we  may 
not  be  able  to  discover  a  single  individual  but  lacks  some  element  of 
perfection  or  grace,  yet  we  have  at  least  our  idea  of  the  average  excel- 
lence of  many  individuals  of  the  same  class,  and  in  this  an  imperfect 
ideal.  Beyond  and  above  this,  again,  is  the  much  higher  ideal  arrived 
at  by  collecting  all  the  most  eminent  perfections  ever  known  in  indi- 
viduals of  a  given  class,  and  combining  these  together  into  the  concep- 
tion of  a  more  perfect  crystal,  plant,  animal,  or  character  than  any  one 
has  even  seen  realized. 

In  like  manner,  there  is  no  delicacy  or  splendor  of  color,  nor  any 
sweetness  and  harmony  of  tone,  no  pleasant  savor  or  odor,  no  symmetry 
or  grace  of  form,  nor  any  magnificence  of  mental  endowment  or  genius 
of  any  kind,  but  that  beyond  it  one  innnediately  imagines  something 
more  satisfactory  and  complete.  Thus  in  all  these,  the  sensuous  and 
the  purely  spiritual  as  well,  we  have  our  human  ideals  which  we  form 
by  collecting  and  combining  separate  perfections.  These  remain 
steadfast,  or  become  constantly  more  complete  in  spite  of  the  counter- 
acting influence  of  the  discovery  of  imperfections  in  individuals. 
Beyond  these,  again,  exists  the  true  ideal,  perfectly  known  only  to 
God,  but  in  some  feeble  degree  imaginable  to  the  specially  gifted  or 
inspired;  and  these  are  the  naturalists,  statemen,  prophets,  seers, 
artists  and  poets  of  the  world,  who  all  find  their  true  distinction  in 
their  successful  divination  and  communication  of  the  ideal. 

Under  the  term  Ideal,  therefore,  we  properly  include 
every  thing  that  is  eternal  and  true.  Any  object  in  nature 
or  art  is  ideal  accordino;  as  it  manifests  in  outward  form 
the  inner  nature  of  the  Ideal. 

There  are  three  great  phases  of  the  ideal  which  include  within 
themselves  all  possible  grades  of  goodness  and  excellence;  and  imply 
as  opposites  all  grades  of  imperfection  and  wrong.  These  all  inclusive 
phases  are  the  True,  the  Beautiful,  and  the  Good. 

Under  the  name  True  we  include  not  only  all  truthfulness  of 
statement  and  teaching,  whether  relating  to  material  objects,  to  history,. 


THE   DESIGN  AND   SCOPE   OF  ART.  59 

or  to  speculation,  but  also  all  genuineness  and  consistency,  or  the  quality 
of  agreement  between  the  (ippearance  and  the  real  nature  in  any 
material  thing  or  person. 

The  conception  we  call  Goodness  relates  to  the  moral  nature,  and 
involves  in  it  the  idea  of  the  exercise  of  benevolence  and  love  as  the 
iiabitual  motive  of  action.  This  form  of  the  ideal  is  that  habitually 
appealed  to  in  religion.  In  its  lower  applications  it  involves  the  idea 
of  fitness,  suitability,  adaptation  to  a  proposed  end. 

The  ideal  we  call  the  Beautiful  involves  in  it  predominantly  the 
o^w^Xxty  oi perfection  of  apjyearance^'AwiS.  is  expressed  in  forms  addressed 
to  sense-perception,  or  to  the  inner  senses.  Truth  is  primarily 
addressed  to  the  intellect;  Goodness  to  the  moral  nature;  Beauty  to 
the  senses. 

All  these,  the  True,  the  Beautiful  and  the  Good,  unite 
in  the  One  Ideal,  GOD. 

All  qualities  of  the  ideal  whether  in  material  things, 
animals,  or  personal  character,  are  but  reflections,  im2:)erfect 
appearances,-  or  intimations  of  the  Divine. 

SECTIOX    SECOND.       T^IE    DESIGN    AND    SCOPE    OF    ART. 

Art  has  for  its  object  the  expression  of  the  Ideal  in  sense-form  ; 
or,  which  means  the  same  thing,  the  expression  of  the  Beautiful. 

"  The  sole  principle  of  Art  is  cognition  of  the  ideal;  its  sole  design 
the  communication  of  this  knowledge.  While  Science^  tracing  the 
restless  and  inconstant  stream  of  manifold  princi))les  and  sequences,  in 
each  point  reached  finds  always  something  further,  and  never  a  last 
limit,  nor  yet  ever  can  find  complete  satisfaction  (just  as  little  as  one 
by  running  can  reach  the  point  where  clouds  touch  the  horizon);  Art^ 
on  the  other  hand,  is  already  at  the  limit.  She  arrests  the  object  of 
her  contemplation  out  of  the  stream  of  the  world-course,  and  holds  it 
isolated.  And  this  Single,  which  in  the  stream  was  but  a  little  vanish- 
ing part,  becomes  for  her  a  representative  of  the  vhole.,  an  Equivalent 
of  the  endless  Many  in  space  and  time.  She  remains  fast,  therefore, 
])y  this  separate.  She  stops  the  wheel  of  time;  relations  vanish  for 
her;  only  the  essenti((l^  the  Idea,  is  the  o])ject. 

"  We  can,  therefore,  straightway  designate  Art  as  the  examination 
of  things  hi  their  eternal  nature  and  meanhni.  in  contrast  to  the  exami- 
nation of  things  in  their  temporal  aspects,  which  is  the  way  of  sense- 
perception    and  knowledge.     This    latter   mode   is   an    endless,  like  a 


iiO  HOW  TO   UXDERSTAXD   MVSIC. 

horizontal  line;  the  former  is  a  perpendicular  cutting  the  horizon- 
tal line  at  a  chosen  point.  The  usual  mode  of  examining  things  is  the 
reasonable  one,  which  in  practical  life,  as  in  science,  is  alone  valid  and 
profitable.  The  other  is  in  Art  the  only  valid  and  profitable.  The 
scientific  is  the  mode  of  Aristotle;  the  artistic,  in  the  main,  that  of  Plato. 
The  first  is  like  the  furious  storm,  which  hurries  along  without  begin- 
ing  or  limit,  bends,  moves,  and  carries  every  thing  along  with  it;  the 
second  like  the  quiet  sunbeam  which  cuts  its  way  through  the  storm 
-entirely  unmoved  by  it.  The  first  like  the  innumerable,  tempestuously- 
moving  drops  of  the  water-fall,  which,  constantly  changing,  suffer  no 
glance  to  linger  upon  them;  the  second  like  the  rainbow  resting  in 
stillness  upon  this  tumultuous  crowd."* 

The  Powers  of  Art  are  thus  broadly  defined  by  Hegel:  "It  is 
the  task  and  scope  of  art  to  bring  to  our  perception  and  spiritual 
realization  all  that  in  our  thought  has  a  place  in  the  human  spirit. 
That  well-known  sentence,  J^ihil  humani  a  me  alienum  piito^  Art 
shall  realize  in  us." 

Its  clesign  is,  therefore  :  To  awaken  and  to  animate  the 
shimbering  feelings,  desires  and  passions  of  all  kinds ;  to  fill 
the  heart  and  to  j^ermit  to  be  conscious  in  man  everything 
developed  and  undeveloped  which  human  feeling  can 
carry,  experience,  and  bring  forth,  in  its  innermost  and  most 
secret  parts;  whatever  the  human  heart  in  its  manifold 
possibilities  and  moods  desires  to  move  and  excite ;  and 
especially  whatever  the  S23irit  has  in  its  thought  and  in  the 
Idea  of  the  -most  Essential  *  and  High ;  the  glory  of  the 
Honored,  Eternal,  and  True. 

"  It  may  also  express  vinhappiness  and  misery,  in  order  thus  to 
make  wickedness  and  criminality  conceivable,  and  to  permit  the 
human  heart  to  share  every  thino-  horrible  and  dreadful,  as  well  as  all 
joy  and  happiness.  Then  fancy  may  at  last  indulge  herself  in  vain 
sport  of  the  imagination,  and  run  riot  in  the  ensnaring  magic  of  sensu- 
ously entrancing  contemplation." 

That  is  to  say  :  It  is  within  the  power  of  Art  to  portray  the  entire 
content  of  the  human  spirit;  its  evil  no  less  than  its  good.  Neverthe- 
less the  proper  mission  of  Art,  as  the   expression  of  Beauty,   forbids 

♦Schopenhauer. 


CONDITIONS  OF  ART  AND   OF  ITS  ENJOYMENT  61 

the  representation  of  the  evil  except  in  so  far  as  it  can  be  used  for 
contrast  in  order  thereby  to  reveal  a  deeper  beauty.  Any  use  of  evil 
in  art  other  than  in  this  subjection  to  good,  makes  false  art. 

SECTIOX    THIRD.       CONDITIONS    OF    ART    AND    OF    ITS    ENJOYMENT. 

The  effectiveness  of  Art  rests  primarily  iij)<)ii  the  fact 
that  our  knowledge  of  the  outer  world  comes  in  through 
sensation  and  sense-perception,  and  thus  first  reaches  the 
feelings  and  will.  Therefore,  whether  it  is  the  external 
reality  itself  which  occupies  the  attention,  or  only  the  appear- 
ance of  it  (as  in  pictures,  drawings,  or  representations)  "by 
means  of  which  a  scene,  or  relation,  or  life-moment  of  any 
kind  is  brought  to  us,  —  it  remains  for  our  soul  the  same,  in 
order  to  depress  or  rejoice  us  according  to  the  nature  of 
such  an  idea,  to  stir  and  excite  and  to  thrill  us  with  the 
feelings  and  passions  of  anger,  hatred,  and  sympathy;  of 
anxiety,  fear,  love,  esteem,  and  wonder ;  of  Honor  and  of 
Glory. 

"This  waking  up  of  all  sensations  in  us,  the  education  of  our  feel- 
ings through  each  life-picture;  to  set  in  operation  all  these  inner 
movements  through  a  merely  deceptive  external  presence — it  is  which 
is  especially  seen  as  the  peculiar,  unexcelled  power  of  art. 

"Nevertheless,  Art  in  this  manner,  impresses  good  and  l)ad  upon 
the  feelings  and  ideas;  and  the  design  should  be  to  strengthen  it  to  the 
noblest,  so  as  to  nerve  it  up  to  the  most  thoughtful  and  useful  iiis])ira- 
tions."     (Hegel.) 

In  all  art- work  we  have  to  do  with  two  elements,  "  first 
a  content,  design,  meaning ;  then  the  expression,  representa- 
tion and  realization  of  this  content ;  and  both  sides  so  brought 
together  that  the  oiLter  and  material  is  presented  (tiily  as  the 
representation  of  the  inner,  and  not  otherwise;  as  that  which 
the  covering  has  received  and  expressed  out  of  the  content T^ 

The  Fine  Arts  are  Architecture,  Sculpture,  Painting,  Music,  and 
Poetry  (including   all    imaginative   composition).     Each   one  of  these 

,     »Hegel. 


62  HOW  TO   UNDERSTAND  MUSIC. 

seeks  to  express  the  beautiful  in  its  own  way,  according  to  the  nature 
and  capacity  of  the  material  through  whicli  it  works. 

In  order  to  thoroughly  appreciate  and  justly  estimate  any  master- 
work  of  art,  therefore,  we  need  to  consider  its  conception  or  intention, 
and  the  technical  merits  of  its  execution.  Hence,  the  intention  of  the 
previous  parts  of  the  present  work  has  been  to  lead  to  an  intelligent 
observation  of  the  more  external  qualities  of  music  as  a  form  of  art. 
This  having  been  measurably  accomplished,  we  here  enter  upon  a 
consideration  of  the  content  or  meaning  of  music,  in  doing  which  we 
find  it  most  convenient  and  helpful  to  inquire  also  concerning  the 
scope  and  meaning  of  all  the  arts,  as  well  as  the  leading  characteristics 
of  the  beautiful  itself  which  they  all  have  for  their  ideal. 

All  forms  of  the  Beautiful  as  we  saw  in  the  beginning,  are  to 
be  enjoyed  through  contemplation,  rather  than  thought.  A  beautiful 
sunset,  a  grand  movnitain  view,  a  great  moment  in  history,  lose  their 
charm  of  beauty  or  grandeur  when  we  reason  about  them  and  occupy 
ourselves  with  an  inquiry  into  the  scientific  principles  underlying  them. 
The  drops  of  water  in  the  rainbow  are  but  ordinary  examples  of  the 
substance  chemically  known  as  H2O.  It  is  only  our  own  accidental 
position  with  regard  to  them  and  the  sun,  wliich  enables  us  to  j^erceive 
in  them  the  beautiful  token  of  God's  remembrance.  We  look,  and 
behold!  it  is  there!     We  approach  to  analyze  it,  and  lo!  it  is  gone. 

K\\  art  and  all  perception  and  enjoyment  of  the  beautiful,  come 
through  childlike  faith  and  openness  of  spirit. 

And  whenever  for  the  sake  of  studv  and  knowledo-e  we  analyze 
an  art-work  in  order  to  surprise  the  secret  of  its  construction,  we 
need  to  re  create  it  again,  according  to  the  simple  directness  of  its 
meaning  as  art,  in  order  to  recover  its  charm  and  inspiration. 


OF  THE   NATURE   AND    MEANING   OF  THE   BEAUTIFIL.  03 


CHAPTER     TWEXTY-TIITKI). 

OF  THE  NATURE  AND  MEANING  OF  THE  BEAUTIFUL. 

Under  the  term  "  Beautiful  "  are  included  an  innumerable  mani- 
fold of  meanings,  so  great  and  in  their  higher  reaches  so  glorious,  that 
language  fails  in  power  to  express  them,  and  even  the  mind  is  lost 
amid  the  bewildering  splendor.  For  in  this  term  we  reckon  together 
all  that  is  j^leasing  in  sensation,  contentful  and  satisfactory  in  con- 
templation, or  kindling  and  inspiring  in  spiritual  perception.  It  em- 
braces within  itself  every  graceful  and  lovely  existence  in  created  things, 
all  that  artists  have  represented,  poets  dreamed,  or  seer  and  revela- 
tor  made  known,  and  every  possibility  of  splendor,  glory,  and  excellence, 
which  the  longest  ages  of  eternity  shall  make  real  to  the  blessed. 

Since,  then,  the  Beautiful  itself  is  not  yet  fully  revealed,  it  is  no 
wonder  that  a  complete  and  satisfactory  discussion  of  the  subject  has 
never  been  made,  for  such  an  achievement  is  in  its  nature  impossible. 

Nevertheless,  every  act  of  esthetic  judgment  involves  within  it 
the  determination  of  "beautiful"  or  "  un-beautiful,"  and  hence  the 
soundness  of  our  subsequent  progress  in  the  present  studies  requires 
.of  us  here  such  preliminary  consideration  of  tliis  wonderful  ideal  as  we 
may  be  able  to  attain  to.  Of  all  writers  on  this  subject  Ruskin  is  the 
most  eloquent  and  suggestive,  though  perhaps  not  the  most  complete 
in  scientific  form.  The  liberty  is  taken,  therefore,  of  availing  our- 
selves of  his  words,  to  piece  out  the  more  systematic,  rational,  and 
practical  classification  we  find  ready  to  our  hand  in  Lotze's  work  on 
"  Ji:sthetics  in  Germany  "  {'■'■  Aesthetih  in  DeutschlancV  by  Hermann 
Lotze,  Munich,  1868). 

"  By  the  term  beauty,"  says  Ruskin,*  "  properly  are  signified  two 
things.  First,  that  external  quality  of  bodies,  which,  whether  it  occurs 
in  a  stone,  flower,  beast,  or  in  man,  is  absolutely  identical,  which,  as  I 
have  already  asserted,  may  be  shown  to  be  in  some  sort  typical  of  the 
Divine  attributes,  and  which,  therefore,  1  shall,  for  distinction's  sake, 
call  typical  beauty;  and,  secondarily,  the  appearance  of  felicitous  full- 
filment  of  function  in  living  things,  more  especially  of  the  joyful 
and  right  exercise  of  perfect  life  in  man.  And  this  kind  of  beauty  1 
shall  call  vital  beauty. 

*"  Modern  Painters,"  Vol.  II.,  p.  27. 


04  HOW  TO   UNDERSTAND   MUSIC. 

"  Any  application  of  the  word  beautiful  to  other  appearances  or 
qualities  than  these,  is  either  false  or  metaphorical,  as,  for  instance  to 
the  splendor  of  a  discovery,  the  fitness  of  a  proportion,  the  coherence 
of  a  chain  of  reasoning,  or  the  power  of  bestowing  pleasure  which 
objects  receive  from  association,  a  power  confessedly  great,  and  inter- 
fering, as  we  shall  presently  find,  in  a  most  embarrassing  way  with 
the  attractiveness  of  real  beauty." 

All  modes  or  degrees  of  the  Beautiful  may  be  counte<l  in  three 
categories.  These  are:  (1.)  The  Pleasing  in  Sensation.  (2.)  The 
Satisfactory  in  Contemplation,  and  (3.)  Beauty  of  Reflection. 

SECTIOX    FIRST.        THE    PLEASIXG    IN    SEXSATIOX. 

All  the  faculties  of  sense-perception  and  sensation  are  susceptible 
of  pleasurable  exercise,  but  none  of  them  awaken  in  us  sensations  of  h 
distinctly  elevated  character  save  only  the  two  ideal  senses  of  sight 
and  hearing:. 

These  are  the  two  avenues  along  which  most  of  the  ideas  come 
which  relate  us  to  the  kingdom  of  spirtual  existence.  In  the  joleasur- 
able  exercise  of  these  senses  there  is  not  only  the  vision  of  intelligence 
and  the  voice  of  wisdom,  but  a  manifold  and  entirely  pure  and  proper 
pleasure  of  sensation  as  such. 

This  we  have  in  the  purity,  contrasts,  harmonies,  and  sequences 
of  color,  such  as  form  a  material  foundation  for  our  enjoyment  of 
beauty  or  gorgeousness  in  nature  or  art. 

So,  also,  in  tone,  we  have  the  various  grades  of  consonance,  and 
especially  the  contrasts  and  agreeable  combinations  and  gradations  of 
tone-color  as  in  orchestral  works,  and  in  human  voices.  Of  this  kind, 
also,  is  the  pleasure  derivable  from  chromatically  modulating  chords, 
such  as  we  find  in  the  works  of  Spohr  and  Gounod,  and  very  often 
in  Italian  opera;  where  no  idea  is  suggested  or  intended,  but  only  the 
sweet,  the  ])retty,  the  well-sounding. 

All  these  are  unmistakably  pleasurable,  and  at  the  same  time 
allied  to  the  perception  of  the  beautiful.  They  all  have  implications 
which  suggest  higher  qualities  of  the  beautiful,  as  one  may  see  below 
in  Ruskin's  words  on  Purity. 

"  PupaTY,  the  Type  of  the  Divine  E)iergy.  —  The  only  idea 
which  r  think  can  be  legitimately  connected  with  purity  of  mat- 
ter, is  this  of  vital  and  energetic  connection  among  its  parti- 
cles, and  that  the  idea  of  foulness  is  essentially  connected  with  dis- 
solution and  death.  Thus  the  purity  of  the  rock,  contrasted  with 
the    foulness  of  dust  or  mould,  is  expressed   by  the    epithet  'living,' 


OF  THE   NATURE   AND   MEANING   OF  THE   BEAUTIFUL.         G5 

verv  sino-vilarlv  ijiven  in  the  rock,  in  almost  all  laiiarnagros:  siiio-ulariv 
I  say,  because  life  is  almost  the  last  attribute  one  would  ascribe  to 
stone,  but  for  this  visible  energy  and  connection  of  its  particles;  and 
so  of  water  as  opposed  to  stag-nancy.  And  T  do  not  think  that,  how- 
ever pure  a  powder  or  dust  may  l)e,  the  idea  of  beauty  is  ever  connected 
with  it,  for  it  is  not  the  mere  purity,  but  the  active  condition  of  the 
substance  which  is  desired,  so  that  as  soon  as  it  shoot  into  crystals,  or 
gathers  into  efflorescence,  a  sensation  of  active  or  real  purity  is  received 
which  was  not  felt  in  the  calcined  caput  viortuum. 

"And  again  in  color.  I  imagine  that  'the  quality  of  it  wdiich  we 
term  purity  is  dependent  on  the  full  energizing  of  the  rays  that  com- 
pose it,  whereof  if  in  compound  hues  any  are  overpowered  and  killed 
by  the  rest,  so  as  to  be  of  no  value  nor  operation,  foulness  is  the 
consequence;  while  so  long  as  all  act  together,  whether  side  by  side, 
or  from  pigments  seen  one  through  the  other,  so  that  all  the  coloring 
matter  employed  comes  into  play  in  the  harmony  desired,  and  none 
be  quenched  nor  killed,  purity  results.  And  so  in  all  cases  I  suppose 
that  pureness  is  made  to  us  desirable,  because  expressive  of  the  con- 
stant presence  and  energizing  of  tlie  Deity  in  matter,  through  which  all 
things  live  and  move,  and  have  their  being,  and  thnt  foulness  is  pain- 
ful as  the  accompaniment  of  disorder  and  decay,  and  always  indicative 
of  the  withdrawal  of  Divine  support.  And  the  practical  analogies  of 
life,  the  invariable  connection  of  outward  foulness  with  mental  sloth 
and  degradation  as  well  as  with  bodily  lethargy  and  disease,  together 
with  the  contrary  indications  of  freshness  and  purity  belonging  to 
every  healthy  and  active  organic  frame,  (singularly  seen  in  the  effort 
of  the  young  leaves  when  first  their  inward  energy  prevails  over  the 
earth,  pierces  its  corruption,  and  shakes  its  dust  away  from  theii-  own 
white  purity  of  life,)  all  these  circumstances  strengthen  the  instinct 
by  associations  countless  and  irresistible. 

"  And  then,  finally,  with  the  idea  of  purity  comes  that  of  spirituality, 
for  the  essential  characteristic  of  matter  is  its  inertia,  whence,  by  adding 
to  it  purity  or  energy,  we  may  in  some  measure  spiritualize  even  matter 
itself.  Thus  in  the  descriptions  of  the  Apocalypse  it  is  its  purity  that 
fits  it  for  its  place  in  heaven;  the  river  of  the  water  of  life  that  ])ro- 
ceeds  out  of  the  throne  of  the  Lamb,  is  clear  as  crystal,  and  the  pave- 
ment of  the  city  is  pure  gold,  like  unto  clear  glass." 

SECTION    SECOND.       THE    SATISFACTORY    IN    CONTEMPLATION. 

But  above  pleasures  of  mere  sense-perception  as  such,  mere  ebb 
and  flow  of  sensation,  we  must    reckon  the  quiet    pleasures  one  has  in 
5 


CG  HOW  TO   UNDERSTAND   MUSIC. 

merely  contemplating  a  beautiful  object.  One  of  the  most  obvio-;s 
examples  of  this  is  the  satisfaction  universally  experienced  in  looking 
at  a  beautiful  face.  Such  is  the  gratification  one  involuntarily  feels  in 
its  symmetry,  its  pleasantness  and  justice  of  ])roportion,  that  for  a 
long  time  one  overlooks  whatever  of  emptiness  or  shallowness  of 
spiritual  expression  it  may  betray.  Nay,  with  some  observers  this 
pleasure  is  so  strong  that  it  suffices  to  overcome  the  strongest  and  best 
grounded  elements  of  dissatisfaction  one  may  have  in  the  personal 
character  of  the  owner  of  the  face. 

The  foundation  of  this  satisfaction  lies  in  Symmetry  ("the  type  of 
the  Divine  justice")  of  which  Ruskiu  speaks  thus: 

"  We  shall  not  be  long  detained  bv  the  consideration  of  this  con- 
stituent  of  beauty,  as  its  nature  is  universally  felt  and  understood. 
Tn  all  perfectly  beautiful  objects,  there  is  found  the  opposition  of  one 
part  to  another  and  a  reciprocal  balance  obtained;  in  animals  the 
balance  being  commonly  between  opposite  sides,  (note  the  disagree- 
ableness  occasioned  by  the  exception  in  flat  fish,  having  the  eyes  on 
one  side  of  the  head,)  l)ut  in  vegetables  the  opposition  is  less  distinct, 
as  in  the  boughs  on  opposite  sides  of  trees,  and  the  leaves  and  sprays 
on  each  side  of  the  boughs,  and  in  dead  matter  less  perfect  still,  often 
amounting  only  to  a  certain  tendency  towards  a  balance,  as  in  the 
opposite  sides  of  valleys  and  alternate  windings  of  streams.  In  things 
in  which  perfect  symmetry  is,  from  their  nature,  impossible  or  improb- 
al)Ie,  a  balance  must  be  at  least  in  some  measure  expressed  before  they 
can  be  beheld  with  pleasure.  Hence  the  necessity  of  what  artists  re- 
quire as  opposing  lines  or  masses  in  composition,  the  propriety  of  which, 
as  well  as  their  value,  depends  chiefly  on  their  inartificial  and  natural 
invention.  Absolute  equality  is  not  required,  still  less  absolute 
similarity. 

"A  mass  of  subdued  color  may  be  balanced  by  a  point  of  a  powerful 
one,  and  a  long  and  latent  line  overpowered  by  a  short  and  conspicuous 
one.  The  only  error  against  which  it  is  necessary  to  guard  the  reader 
with  respect  to  symmetry,  is  the  confounding  it  with  proportion, 
though  it  seems  strange  that  the  two  terms  could  ever  have  been  used 
as  synonymous.  Symmetry  is  the  opposition  of  equal  quantities  to 
each  other.  Proportion  the  connection  of  nnequril  quantities  wnth  each 
other.  The  property  of  a  tree  in  sending  out  equal  boughs  on  opposite 
sides  is  symmetrical.  Its  sending  out  shorter  and  smaller  towards  the 
top,  proportional.  In  the  human  face  its  balance  of  opposite  sides  is 
symmetry,  its  division  upwards,  proportion. 

"Whether  the  agreeableness  of  symmetry  be  in  any  way  referable 


OF   THE   NATURE   AND   MEANING   OF  THE   BEAUTIFUL.       GT 

to  its  expression  of  the  Aristotilian  Ifroir^c,  that  is  to  say  of  abstract 
justice,  I  leave  the  render  to  (leteriniiie;  1  only  assert  respecting  it, 
that  it  is  necessary  to  the  dio-nitv  of  every  form,  and  that  l>v  tlie 
removal  of  it  we  shall  render  the  other  elements  of  beauty  com- 
paratively ineffectual;  though  on  the  otluu-  hand,  it  is  so  to  be  observed 
that  it  is  rather  a  mode  of  arrangement  of  qualities  than  a  quality 
itself;  and  hence  symmetry  has  little  power  over  the  mind,  uidess  all 
the  other  constituents  of  beauty  be  found  together  witli  it." 

x\ll  degrees  of  the  satisfactory  in  contemplation  depend  chiefly 
upon  the  qualities  which  naturally  appertain  to  and  cluster  around  sym- 
metry. They  are  Regularity,  Moderation  according  to  law,  Harmony, 
and  Proportion,  all  of  which  are  the  qualities  we  discover  first  in  the 
beautiful  things  of  nature. 

All  of  these,  again,  show  themselves  equally  in  space-relations^ 
and  in  time-relations.  Those  of  space,  or  of  visible  forms,  are  already 
referred  to  in  the  extract  from  Ruskin,  above. 

The  element  of  time,  properly  includes  every  thing  in  music;  not 
only  its  measure  and  rhythm,  but  even  its  harmony  and  melodic 
organization,  since  tone  itself  finds  its  power  in  regularly  determined 
vibrations,  which  although  physically  taking  place  in  space,  enter  the 
soul  only  in  the  forms  of  time.  In  this  respect  they  ally  themselves  to  a 
deeper  department  of  the  soul;  for  Schopenhauer  very  cleverly  points 
out  that  space-relations  as  such  are  not  received  into  abstract  thought, 
but  transformed  into  those  of  time^  as  all  the  equations  and  computa- 
tions of  planetary  spaces  are  carried  on  in  mathematical  formuke. 
In  other  words,  space  itself  is  nothing  more  than  time  made  visible. 
Time  and  Eternity  are  the  symbols  of  immortality. 

Now  in  the  element  of  time  we  have  in  music  innumerable  rela- 
tions and  cunningly  intermingled  gradations  of  harmony,  proportion, 
order,  symnietrj',  and  the  like,  as  we  have  already  seen  in  our  studies 
in  phraseology  and  form;  and  as  we  shall  see  vet  more  plainly  in  our 
studies  in  classical  music  particularly. 

Moreover,  these  elements  of  beauty  imply  also  unity.,  else  there 
would  be  no  Single  in  which  the  beauty  inheres.  And  so  it  follows 
by  implication  that  in  order,  proportion.,  and  hdrmony.,  we  have  tlie 
"  unity  in  variety  "  so  often  quoted  and  »o  little  understood.  But  this 
element  of  Unity  has  a  yet  higher  reach,  therefore  its  particular  dis- 
cussion is  reserved  for  the  next  section. 

In  all  these  together  we  have  Formal  Beauty,  the  outward  con- 
ditions of  beauty;  or  purely  physical  beauty,  the  form  in  which  the 
higher  spiritual  beauty  may  inhere.     And  formal  beauty,  again,  implies 


68  HOW   TO    UNDERSTAND   MUSIC. 

as  its  check  or  safe-guard  yet  another    quality,  of  wliich   Ruslcin    shall 

tell  us. 

Moderation: 

The  Tij2:>e  of  the  Divine  Government  by  Law. 

"  I  have  put  this  attribute  of  beauty  last,  because  I  consider  it  the 
girdle  and  safeguard  of  all  the  rest,  and  in  this  respect  the  most  essen- 
tial of  all,  for  it  is  possible  that  a  certain  degree  of  beauty  may  be 
attained  even  in  the  absence  of  one  of  its  other  constituents,  as  some- 
times in  some  measure  without  symmetry  or  without  unity.  But  the 
least  appearance  of  violence  or  extravagance,  of  the  want  of  modera- 
tion and  restraint,  is,  I  think,  destructive  of  all  beauty  whatsoever  in 
every  thing,  color,  form,  motion,  language,  or  thought,  giving  rise  to 
that  which  in  color  we  call  glaring,  in  form  inelegant,  in  motion 
ungraceful,  in  language  coarse,  in  thought  undisciplined,  in  all  un- 
chastened;  which  qualities  are  in  every  thing  most  painful,  because  the 
signs  of  disobedient  and  irregular  operation. 

"And  therefore  as  that  virtue  in  which  men  last,  and  with  most 
difficulty  attain  unto,  and  which  many  attain  not  at  all,  and  yet  that 
which  is  essential  to  the  conduct  and  almost  to  the  being  of  all  other 
virtues,  since  neither  imagination,  nor  invention,  nor  industry,  nor 
sensibility,  nor  energy,  nor  any  other  good  having,  is  of  full  avail 
without  this  of  self-command,  whereby  works  truly  masculine  and 
mightv  are  produced,  and  by  the  signs  of  which  they  are  separated 
from  that  lower  host  of  things  brilliant,  magnificent  and  redundant, 
and  further  yet  from  that  of  the  loose,  the  lawless,  the  exaggerated, 
the  insolent,  and  the  profane,  I  would  have  the  necessity  of  it  foremost 
among  all  our  inculcating,  and  the  name  of  it  largest  among  all  our  in- 
scribing, in  so  far  that,  over  the  doors  of  every  school  of  Art,  I  would 
have  this  one  word,  relieved  out  in  deep  letters  of  pure  gold  —  3Iodera- 
tionr 

SECTION    THIRD.       THE    BEAUTIFUL    IN    SPIRITUAL    PERCEPTION. 

We  now  reach  the  degree  where  the  beautiful  fully  becomes  what 
in  the  original  conception  it  was  defined  to  be,  namely,  the  expression 
of  the  ideal  in  sense-forms  (or  in  outward  appearance).  When  we  con- 
template a  gorgeous  sunset,  we  experience  much  more  than  a  merely 
contentful  satisfaction  in  splendid  masses  of  crimson  and  gold  lying 
above  the  western  horizon.  It  is  not  the  magnificent  and  incredible 
purity  of  the  colors,  nor  the  pleasing  evanescence  of  the  silently 
changing  cloud-masses,  nor  yet  any  sensuous  gratification  in  tliQ  brilliant 
lights  reflected  from  the  mountainsin  the  east,  or  the  passingsails  on  the 


OF  THE   NATURE   AND   MEANING   OF  THE   BEAUTIFUL.         {j<3 

ocean,  but  rather  an  inspiration  and  kindling  of  spirit  such  as  all  sensi- 
tive and  highly  organized  natures  well  know,  and  which  all  recognize 
as  among  the  most  spiritual  moments  of  their  lives.  Or  v.-hen  one  looks 
olT  from  a  mountain  top,  how  grand  and  exh'larating  the  experience. 
So,  again,  as  one  listens  to  a  great  symphony,  how  it  thrills  and  over- 
powers with  its  exquisite  expression.  In  all  these  experiences,  and  in 
an  endless  number  of  similar  ones  left  unmentioned  here;  because  so 
universally  recognized,  we  liave  always  two  elements:  some  object  or 
combination  of  objects  presented  to  sense-perception,  and  as  such  sat- 
isfvinfn"  at  least  the  chief  demands  of  formal  beauty;  and,  second,  a  kind- 
linsr  of  emotion  in  the  soul,  a  su2:2restion  of  the  unutterable  and  the  in- 
effable,  which  for  the  moment  makes  even  common  natures  poetic  and 
appreciative. 

This  play  of  the  imagination,  this  unconscious  kindling  of  soul, 
rano-es  throu<xh  all  grades,  from  the  merely  pleasino-  to  the  most  over- 
powering  sense  of  the  Infinite,  as  in  the  sublime.  But  it  is  in  some 
degree  inseparable  from  the  highest  perception  of  beauty,  and  depends 
more  upon  sensitiveness  and  iineness  of  organization  in  the  beholder, 
than  on  any  definable  physical  properties  of  the  object  awakening  it. 
We  call  it,  therefore,  the  beautiful  in  spiritvuil  perception;  or,  with 
Kant  and  Lotze,  the  "beautiful  in  reflection,"  as  if  in  contemplating 
these  objects  something  of  the  radiance  of  the  spiritual  woi-ld  was  re- 
flected upon  the  beholder, or  called  up  from  the  depthsof  his  own  soul. 
This  emotion  is  what  Richard  Wao-ner  calls  "the  sense  of  the  illimit- 
able;"  and  what  Ruskin  eloquently  describes  as  intimations  or  sugges- 
tions of  Unity,  Repose  and  Infinity: — 

UxiTv:  —  The  Type  of  the  Dwbie  Comprehensive7iess.  "All  things," 
says  Hooker,  "  (God  only  excepted,)  besides  the  nature  which  they  have 
in  themselves,  receive  externally  some  perfection  from  other  things." 
Hence  the  appearance  of  s(!paration  or  isolation  in  any  thing,  and  of 
self-dependence,  is  an  appearance  of  imperfection;  and  all  appearances 
of  connection  and  brotherhood  are  pleasant  and  right,  both  as  signifi- 
cative of  perfection  in  the  things  united,  and  as  typical  of  that  Unity 
which  we  attribute  to  Goth  and  of  which  our  true  conception  is  rightly 
explained  and  limited  by  Dr.  Brown,  in  his  XCII  lecture;  that 
Unity  which  consists  not  in  his  own  singleness  or  separation,  but 
in  the  necessity  of  his  inherence  in  all  things  that  be,  witliout  which 
■  no  creature  of  any  kind  could  hold  existence  for  a  moment,  which 
necessity  of  Divine  essence  I  thiidc  it  better  to  speak  of  as  com- 
prehensiveness, than  as  unity,  because  unity  is  often  understood 
in  the  sense  of  oneness  or  singlenesB,   instead  of  universality,  whereas^ 


70  HOW  TO   UNDERSTAND   MUSIC. 

the  only  Unity  which  by  any  means  can  become  grateful  or  an  object  of 
hope  to  men,  and  whose  types  therefore  in  material  things  can  be 
beautiful,  is  tiiat  on  which  turned  the  last  words  and  prayer  of  Christ 
before  his  crossing  of  the  Kedron  brook.  "Neither  pray  I  for  these 
alone,  but  for  them  also  which  shall  believe  on  me  throuo-h  their  word. 
That  they  all  may  be  one,  as  thou,  Father,  art  in  me,  and  I  in  thee." 

"  And  so  there  is  not  any  matter,  nor  any  spirit,  nor  any  creature, 
but  it  is  cajDable  of  an  unity  of  some  kind  with  other  creatures,  and  in 
that  unity  is  its  perfection  and  theirs,  and  a  pleasure  also  for  the  be- 
holding of  all  other  creatures  that  can  behold.  So  the  unity  of  spirits 
is  p;irtly  in  their  sympathy,  and  partly  in  their  giving  and  taking,  and 
alwavs  in  their  love:  and  these  are  their  delio-ht  and  their  strenjrth, 
for  their  strength  is  in  their  co-working  and  army  fellowship,  and  their 
delight  is  in  the  giving  and  receiving  of  alternate  and  perpetual  cur- 
rents of  good,  their  inseparable  dependence  on  each  other's  being,  and 
their  essential  and  perfect  depending  on  their  Creator;  and  so  the 
unity  of  earthly  creatures  is  their  j^ower  and  their  peace,  not  like  the 
dead  and  cold  peace  of  undisturbed  stones  and  solitary  mountains,  but 
the  living  peace  of  trust,  and  the  living  ])ower  of  support,  of  hamls 
that  holil  each  other  and  are  still;  and  so  the  unity  of  matter  is,  in  its 
n()l)]est  form,  the  organization  of  it  wiiich  builds  it  up  into  temples  for 
the  spirit,  and  in  its  lower  forms,  the  sweet  and  strange  affinity,  which 
gives  to  it  the  glory  of  its  orderly  elements,  and  the  fair  variety  of 
change  and  assimilation  that  turns  the  dust  into  the  crystal,  and  sepa- 
rates the  waters  that  be  above  the  firmament  from  the  waters  that  be 
beneath;  and  in  its  lowest  fornr,  it  is  the  working  and  walking  and 
clinging  together  that  gives  their  power  to  the  winds,  and  its  syllables 
and  soundings  to  the  air,  and  their  weight  to  the  waves,  and  their 
burning  to  the  sunbeams,  and  their  stability  to  the  mountains,  and  to 
every  creature  whatsoever  operation  is  for  its  glory  and  for  its  good. 

Now  of  that  which  is  thus  necessary  to  the  perfection  of  all  things, 
all  appearance,  sign,  type,  or  suggestion  must  be  beautiful,  in  what- 
ever matter  it  may  appear.  And  so  to  the  perfection  of  beauty  in 
lines,  or  colors,  or  forms,  or  masses,  or  multitudes,  the  appearance  of 
some  species  of  unity  is  in  the  most  determined  sense  of  the  word 
essential. 

But  of  the  appearances  of  unity,  as  of  iinity  itself,  there  are 
several  kinds  which  it  will  be  found  hereafter  convenient  to  consider 
separately.  Thus  there  is  the  unity  of  different  and  separate  things, 
subjected  to  one  and  the  same  influence,  which  may  be  called  subjec- 
tional  unity,  and  this  is  the    unity  of  the  clouds,  as  they  are  driven  by 


OF   THE   NATURE   AND   MEANING   OF  THE    BEAUTIFUL.       71 

parallel  winds,  or  as  they  are  ordered  by  the  electric  currents,  and  this 
is  the  unity  of  the  sea  waves,  and  this  of  the  bending  and  undula- 
tion of  the  forest  masses,  and  in  creatures  capable  of  will,  it  is  the 
unity  of  will  or  of  iiisijiration. 

And  there  is  unity  of  origin,  which  we  may  call  orifyinal  unitv,  which 
is  of  thinsrs  arisino:  from  one  sprino;  and  source,  and  speakinjj:  alwavs 
of  this  their  brotherhood,  and  this  in  matter  is  the  unity  of  the  branches 
of  the  trees,  and  of  the  petals  and  starry  rays  of  flowers,  and  of  the 
beams  of  light,  and  in  spiritual  creatures  it  is  their  filial  relation  to 
riim  from  whom  they  have  their  being.  And  there  is  unity  of  se- 
quence, which  is  that  of  things  that  form  links  iii  chains,  and  steps  in 
ascent,  and  stages  in  journeys,  and  this,  in  matter,  is  the  unity  of  com- 
municable forces  in  their  continuance  from  one  thing  to  another,  ;in(l 
it  is  the  passing  upwards  and  downwards  of  beneficent  effects  among 
all  thinors,  and  it  is  the  melody  of  sounds,  and  the  beauty  of  continuous 
lines,  and  the  orderly  successions  of  motion  and  timer;.  And  in 
spii'itual  creatures  it  is  their  own  constant  building  vip  by  true  know- 
ledge and  continuous  reasoning  to  higher  perfection,  and  the  singleness 
and  straight-forwardness  of  their  tendencies  to  more  complete  com- 
munion with  God. 

And  there  is  the  unity  of  metnbership,  which  we  may  call  essen- 
tial unity,  which  is  the  unity  of  things  separately  imperfect  into  a 
perfect  whole,  and  this  is  the  great  unity  of  which  other  unities  are 
but  parts  and  means,  it  is  in  matter  the  harmony  of  sounds  and  con- 
sistency of  bodies,  and  among  spiritual  creatures,  their  love  and  happi- 
ness and  very  life  in  God. 

Repose: — The  Tijpe  of  the  Diolne  Permanence.  Repose,  as  it  is 
expressed  in  material  things,  is  either  a  simple  appearance  of  perman- 
ence and  quietness,  as  in  the  massy  forms  of  a  mountMin  or  I'ock, 
accompanied  by  the  lulling  effect  of  all  mighty  sight  and  sound,  which 
all  feel  and  none  define,  (it  would  be  less  sacred  if  more  ex])lirable,) 
iuSourrv^  (VopiiDv  y.oprxfai  ri  /.at  (pdiiayyz!:^  or  else  it  is  repose  proper, 
the  rest  of  things  in  which  there  is  vitality  or  capability  of  motion 
actual  or  imagined;  and  with  respect  to  tliese  the  expression  of  repose 
is  ixreatet  in  proportion  to  the  amount  and  sublimity  of  the  action 
which  is  not  taking  place,  as  well  as  to  the  intensity  of  the  negation 
of  it.  Thus  we  speak  not  of  rejiose  in  a  stone,  because  the  motion  of 
a  stone  has  nothing  in  it  of  energy  nor  vitality,  neither  its  repose  of 
stability.  But  havino-  once  seen  a  o-reat  rock  come  down  a  mountain 
side,  we  have  a  noble  sensation  of  its  rest,  now  bedded  immovably 
among  the  under  fern,  l)ecause  the  i)ow(m-  and  fearfulness  of  its  motion 


72  HOW  TO    UNDERSTAND   MUSIC. 

were  great,  and  its  stability  and  negation  of  motion  are  now  great  in 
proportion.  Hence  the  imagination,  which  delights  in  nothing  more 
than  the  enhancing  of  the  characters  of  repose,  effects  this  usually  by 
either  attriljuting  to  things  visibly  energetic  an  ideal  stability,  or  to 
things  visibly  stable  an  ideal  activity  or  vitality.  Hence  Wordswortli, 
of  the  cloud,  which  in  itself  having  too  much  of  cbangefulness  for  his 
purpose,  is  spoken  of  as  one  "that  heareth  not  the  loud  winds  when 
they  call,  and  moveth  altogether,  if  it  move  at  all."  And  again  of 
children,  which,  that  it  may  remove  from  tiiem  the  child  restlessness, 
the  imaoination  conceives  as  rooted  flowers  "  Beneath  an  old  o'rav  oak, 
as  violets,  lie."  On  the  other  hand,  the  scattered  rocks,  which  have 
not,  as  such,  vitality  enough  for  rest,  are  gifted  with  it  by  the  living 
image;  they  "lie  crouched  around  us  like  a  flock  of  sheep." 

Thus,  as  we  saw  that  unity  demanded  for  its  expression  what  at 
first  sight  might  have  seemed  its  contrary  (variety),  so  repose  demands 
for  its  expression  the  implied  capability  of  its  opposite,  energy,  and 
this  even  in  its  lower  manifestations,  in  rocks  and  stones  and  trees; 
By  comj)aring  the  modes  in  whicii  the  mind  is  disposed  to  regard  the 
bouglis  of  a  fair  and  vigorous  tree,  motiordess  in  the  summer  air,  with 
the  eifect  produced  by  one  of  these  same  boughs  hewn  square  and  issed 
for  threshold  or  lintel,  the  reader  will  at  once  perceive  the  connection 
of  vitalitv  with  repose,  and  the  part  they  both  bear  in  beauty. 

Hence  I  think  that  there  is  no  desire  more  intense  or  more  exalted 
than  that  which  exists  in  all  rightly  discijilined  minds  for  the  evidences 
of  repose  in  external  signs,  and  what  I  cautiously  said  respecting 
infinity,  I  say  fearlessly  respecting  repose,  tliat  no  work  of  art  can  be 
great  without  it,  and  that  all  art  is  great  in  pi'oportion  to  the  appear- 
ance of  it.  It  is  the  most  unfailing  test  of  beauty,  whether  of  matter 
or  motion,  nothing  can  be  ignoble  that  possesses  it,  nothing  right  that 
has  it  not,  and  ni  strict  proportion  to  its  appearance  in  the  work  is  the 
majesty  of  the  mind  to  be  inferred  in  the  artificer.  Without  regard 
to  other  qualities,  we  may  look  to  this  for  our  evidence,  and  by  the 
search  for  this  alone  we  may  be  led  to  the  rejection  of  all  that  is 
base,  and  the  accepting  of  all  that  is  good  and  great,  for  the  paths  of 
wisdom  are  all  peace.  We  shall  see  by  this  light  three  colossal  images 
standing  vip  side  liy  side,  looming  in  their  great  rest  of  spirituality  above 
the  whole  world  horizon,  Phidias,  Michael  Angelo,  and  Dante  (and  Bee- 
thoven— Ed.);  and  then,  separated  from  their  great  religious  thrones  only 
by  less  fullness  and  earnestness  of  faith,  Homer,  and  Shakspeare;  and 
from  those  we  may  go  down  step  by  step  among  the  mighty  men  of  every 
age,    securely  and  certainly    obseiv;int    of  diminished   lustre  in  every 


OF   THE   NATURE    AND   MExiNING    OF   THE    UEAITIFUL.        73 

appoaraiice  of  restlessness  and  effort,  until  the  last  trace  of  true  inspira- 
tion vanislies  in  the  totterinii"  affectations  or  the  tortured  insanities  of 
modern  times. 

Tlier(}  is  no  art,  no  pursuit,  whatsoever,  l)ut  its  results  mav  1)0 
classed  by  this  test  alone;  every  thin<j  of  evil  is  betrayed  and  winnowed 
awav  by  it,  glitter  and  confusion  and  glare  of  color,  inconsistency  or 
absence  of  thought,  forced  expression,  evil  choice  of  subject,  over 
accumulation  of  materials,  whether  in  painting  or  literature,  the 
shallow  and  unreflecting:  notnino-ness  of  the  En<>-lish  schools  of  art,  the 
strained  and  diso-ustino;  horrors  of  the  French,  the  distorted  feverish- 
ness  of  the  German; — pretence,  over  decoration,  over  divisions  of 
parts  in  architecture,  and  again  in  music,  in  acting,  in  dancing,  in 
whatsoever  art,  great  or  mean,  there  are  yet  degrees  of  greatness  or 
meanness  entirely  dependent  on  this  single  quality  of  repose. 

Ixfinity: — The  Type  of  the  Dinme  InconiprehensihilUy.    "  What- 
ever beauty  there   may   result    from  thn  dew  of  the  grass,  the  flash  of 
the  cascade,  the  a-litter  of  the  birch  trunk,  or  the  fair   davlis'ht  hues  of 
darker  things,   (and  joyfulness  there  is  in  all  of  these,)  there  is  yet  a 
light   which   the   eye   invariably   seeks   with  a  deeper   feeling  of   the 
beautiful,  the  light  of  the   declining  or  breaking   day,  and   the   flakes 
of  scarlet  cloud  burning  like  watch-fires  in  the  green  sky  of  the  horizon, 
a  deeper  feeling,  I  say,   not   perhaps  more   acute,   but  having  moni  of 
spiritual  hope  and  longing,  less  of  animal  and  present  life,  more  mani- 
fest, invariably,  in  those  of  more  serious  and  determined  mind,  (I  use 
the  word  serious,   not  as  being  opposed  to  cheerful   but  to  trivial  and 
volatile;)  but,  I  think,  marked  and  unfailing  even  in  those  of  the  least 
thoughtful  dispositions.      I  am   willing  to  let  it  rest    on  the  determina- 
tion of  every  reader  whether  the  pleasure  he  has  received  from  these 
effects  of  calm  and  luminous    distance  be  not   thc^    most  singular   and 
memorable  of  which  he  has  been  conscious,  whether  all  that  isdaz/ling 
in  color,   pei'fect  in  form,   gladdening  in  expression,  be  not  of  evanes- 
cent and  shallow  appealing,  when    compared   with  the  still  small  voice 
of  the  level  twilight  behind  the  purple  hills,  or  the  scarlet  arch  of  dawn 
over  t*lie  dark  troublous-edged  sea."  ...... 

'•  It  is  not  then  by  nobler  form,  it  is  not  by  positiveness  of  hue,  it 
is  not  by  intensity  of  light  (for  the  sun  itself  at  noonday  is  effectless 
upon  the  feelings),  that  this  strange  distant  space  possesses  its  attrac- 
tive power.  But  there  is  one  thing  it  has,  or  suggests,  which  no  other 
object  of  sight  suggests  in  equal  degree,  and  that  is, — Infinity.  It  is 
of  all  material  things  the  least  material,  the  least  finite,  the  farthest 
withdrawn  from  the  earth  prison-housL',  the  most  typical  of  tlie  nature 


74  HOW  TO   UNDERSTAND  MUSIC. 

of  God,  the  most  suggestive  of  the  glory  of  His  dwelling-place.  For 
the  sky  of  night,  though  we  may  know  it  boundless,  is  dark,  it  is  a 
studded  vault,  a  roof  that  seems  to  shut  us  in  and  down,  but  the  bright 
distance  has  no  limit,  we  feel  its  infinity,  as  we  rejoice  in  the  purity 
of  its  light." 

SECTION     FOURTH.       THE    PERCEPTION    OF    THE    BEAUTIFUL    ONE    OF    THE 

HIGHEST  FACULTIES  OF  THE  SOUL. 

Thus  it  plainly  appears  that  in  its  ultimate  relations  the  perception 
of  the  Beautiful  is  one  of  the    hio-hest    faculties  of  the    soul.       For    as 

CD 

Hegel  points  out,  there  are  three  kingdoms  of  absolutely  spiritual  activ- 
ity, having  the  same  content,  namely  knowledge  of  God;  and  differing 
from  each  other  only  in  the  form  in  which  they  bring  the  ideal  to  con- 
sciousness. These  three  kingdoms  of  spirit  are  Art,  -Religion  and  Phil- 
osophy. 

Art  communicates  its  content  through  sense-forms;  Religion 
through  the  "representing  consciousness";  and  Philosophy  through 
free  thought  addressed  to  the  pure  reason.  Art  is  most  nearly  related 
to  Religion,  "because  both  have  to  do  with  heart  and  feeling"  (Hegel). 

Still  in  the  very  nature  of  the  medium  through  which  it  communi- 
cates, namely  sense-forms,  Art  has  great  temptation  to  remain  with  and 
of  the  senses  exclusively.  And  this  we  find  plainly  ilkistrated  in  all  per- 
iods of  its  development.  Even  in  the  times  when  there  was  high  art 
in  the  world,  there  has  alwavs  been  alono-  with  it  a  lov)  or  debased  art, 
appealing  to  the  senses  as  such,  and  remaining  there.  The  depart- 
ment of  Painting  has  Ijeen  perhaps  the  most  exposed  to  this  debase- 
ment, from  which,  indeed,  it  has  never  been  able  entirely  to  free  itself. 

Music  and  Poetry  also  have  at  times  fallen  under  the  same  temp- 
tations, as  we  see  in  the  music  of  Strauss  and  Gounod,  and  some  of  the 
poetry  of  Byron  and  Swinburne.  We  need  to  be  on  our  guard,  there- 
fore, against  all  forms  and  degrees  of  this  low  art,  which  may  always 
be  known  by  its  peculiarly  sensuous  charm,  and  its  lack  of  higher  and 
deeper  suggestion. 

In  this  light  also  we  discover  the  moral  relations  between  the 
practical  pursuit  of  Art,  Religion  and  Philosophy.  The  latter,  indeed, 
has  to  do  with  pure  reason,  and  is  rarely  found  conjoined  with  an  ac- 
tive condition  of  the  artistic  faculties.  Between  Art  and  Religion, 
however,  (as  between  Science  and  Religion,)  there  has  long  been  amis- 
understanding,  having  its  origin  in  the  one-sidedness  of  their  respec- 
tive votaries.  The  pursuit  of  Art  in  the  highest  sense  necessarily 
relates  one  to  Religion,  because  it  not    only    exercises    liis    heart    and 


OF  THE   NATURE  AND   MEANING   OF  THE    BEAUTIFUL.       75 

feelinj^s,  but  calls  out  his  highest  spiritual  intuitions  as  such.  Artists 
in  whom  the  religious  sense  is  wanting,  will  l)e  discovered  on  careful 
consideration  to  be  concerned  with  low  fcH-nis  of  art,  either  resting  in 
the  sensuous  as  such,  oi  at  the  most  not  rising  above  the  enjoyment  of 
formal  beauty.  Art  in  the  lowest  stage  is  intoxicating  in  its  effect 
upon  the  mind,  and  debilitating;  in  the  second  stage  it  is  absorbing  ami 
contentful  to  those  in  whom  the  sense  of  formal  beauty  is  acute,  and  if 
they  yield  themselves  to  this  purely  external  charm,  it  has  the  effect 
of  filling  up  the  attention  to  the  exclusion  of  the  higher  activities  of 
the  soul.  Still,  between  Art  in  this  second  stasre  and  Relicrion  tliere  is 
no  contradiction  nor  incompatibilty.  On  the  contrary,  the  influence  of 
Art  is  useful  provided  that  merely  formal  beauty  be  not  made  an  end. 

Art  also  exercises  great  influence  upon  Religion,  and  has  the  ten- 
dency to  soften  the  rigor  of  its  dogmas  and  practices,  and  encourages 
in  it  a  broader  humanity,  as  we  may  see  plainly  enough  by  comparing 
Puritanism  with  later  forms  of  vital  religion.  Besides,  Art  aids  Religion 
in  a  very  important  way  by  furnishing  it  with  its  revelations  of  beauty 
and  truth  in  sense-forms,  in  availing  itself  of  which  Religion  becomes 
intelliirible  and  attractive  to  the  common  mind. 

On  the  other  hand.  Religion  exercises  important  influence  upon 
Art,  especially  by  elevating  the  thoughts  of  the  artist,  and  purifying  his 
soul,  thereby  permitting  truth  to  shine  into  it  with  greater  lustre.  And 
so  we  may  conclude  on  a  jyriori  grounds  that  the  exercise  of  religion 
is  helpful  to  the  artist,  and  that  we  have  a  right  to  expect  from  him  in 
such  case  a  higher  and  more  ins2)iring  revelation  of  beauty,  than 
would  otherwise  be  possible.  And  this,  also,  experience  confirms,  as 
we  see  plainly  in  such  men  as  Danto,  Michael  Angelo,  Bach,  Handel 
and  Beethoven,  who  are  of  the  very  highest  type. 


76  HOW  TO   UNDERSTAND  MUSIC. 


CHAPTER     TWENTY- FOURTH. 


THE   SYMBOLICAL,  THE  CLASSICAL,  AND  THE  ROMANTIC  IN  ART. 

The  progress  of  Art  has  been  gradual,  from  the  imperfection  and 
crudity  of  early  attempts,  to  a  well-nigh  perfect  beauty  in  the  time 
of  its  full  development.  Thus  it  may  be  said  in  general  that 
"the  oldest  works  in  all  forms  of  art  yield  in  themselves  vague 
contents:  in  poetry,  simple  history,  Theogenies  fermenting  with  ab- 
stract ideas  and  their  incomplete  expression;  separate  saints  in  stone 
and  wood,  etc.  The  representation  remains  unpliant,  monotonous  or 
confused,  stiff,  broken.  Especially  in  the  pictorial  arts  is  the  visible 
expression  dull;  in  repose  not  that  of  the  spiritually  deep  in  itself,  but 
mere  animal  emptiness;  or  else  sharply  distorted  and  immoderate  in 
characteristic  expression. 

"So  likewise  are  the  forms  of  the  human  body  and  their  movements 
dead;  the  arms  huns:  on  the  bodv,  the  bones  not  articulated,  or 
else  awkward,  angular,  sharply  moved;  so  likewise  the  figure  untem- 
pered,  dumpy,  or  immoderately  meagre  and  extended.  Upon  the  ex- 
ternals, on  the  conti'ary,  garments,  hair,  weapons  and  other  adornments 
much  more  love  and  care  are  bestowed;  but  the  folds  of  the  garments, 
e.  g.,  remain  wooden  and  independent,  without  fitting  themselves  to 
the  form  of  the  body  (as  we  can  see  often  enough  in  the  old-time  pic- 
tures of  the  Virgin  Mary,  and  the  saints). 

"Even  so  are  the  earliest  poems  incomplete,  disconnected,  monot- 
onous, only  ruled  remotely  by  one  idea  or  sensation;  or  else  wild,  ve- 
hement, the  different  ideas  confusedly  entangled,  and  the  whole  not 
vet  brought  tos-ether  into  a  firm  oro^anization."* 

Nevertheless  these  early  monuments  have  a  certain  rude  impress- 
iveness  and  grandeur  which  has  been  felt  by  many  generations  of  the 
human  race  who  have  appeared,  admired,  and  passed  away  in  the  pres- 
ence of  these  imposing  memorials  of  the  thoughts  and  aspirations  of 
the  earlier  times. 

Progress  in  art  has  arisen  mainly  from  a  clearer  perception  of  the 
ideal.     It  may  be  divided  into  three  stages,  called  by  Hegel  the  Sym- 

*Hegel's  Aeslhttik,  II,  p.  246. 


THE   SYMBOLIC  ART.  77 

bolical,  the  Classical,  and  the  Romantic.  These  differ  from  each  other, 
not  only  in  a  progressive  elevation  of  the  faculties  addressed  by  Art, 
as  suggested  by  the  classification  of  the  previous  chapter,  but  also  in 
the  mode  of  conceiving  the  ideal  itself.  Tlie  complete  discussion  of 
these  ideas  and  their  illustration  in  the  various  arts  would  take  us  far 
beyond  present  limits.     The  barest  outline  will  suffice. 

SECTION^    FIKST.       SYMBOLIC    ART. 

The  Symbol  is  a  natural  object,  having  a  plain  relation  to 
the  idea  it  represents;  thus,  tlie  lion  is  the  symbol  of  courage;  the  fox, 
of  cunning;  the  ox,  of  patience;  the  sheep  of  simplicity;  the  elephant 
of  docility  and  power;  etc.  Besides  these  natural  symbols  derived 
from  the  animal  kingdom,  there  are  also  abstract  symbols,  whose 
meaning  is  almost  universal;  such  as  the  triangle,  symbol  of  the  trinity; 
the  circle,  of  eternity;  etc.  Yet  each  one  of  these  natural  objects  has  in 
it  something  more  than  the  limited  meaning  it  affords  as  a  symbol.  Thus 
the  lion  is  not  onlv  couraa-eous,  but  fierce  and  treacherous;  the  ox  is 
patient,  but  also  slow  and  stupid;  the  fox  is  cunning,  but  in  his  own  de- 
gree is  fierce  and  blood-thirsty  also.  And  in  this  we  find  a  natural 
limitation  or  inherent  ambiguity  in  symbolical  art. 

Symbolical  art  is  in  general  the  entire  art  of  the  Oriental  nations. 
To  this  class  belong  the  towers  of  Babel,  Pyramids,  Pagodas  and  Temples 
of  China  and  India,  the  sculpture  and  temples  of  Assyria  and  Egypt; 
Myths,  the  Niebelungen  lied,  etc;  as  well  as  much  of  the  poetry  of  the 
Old  Testament,  as,  e.  g.^  parts  of  Ezekiel,  etc.  In  all  these  the  mean- 
ing is  unclear;  each  work  of  this  period  is  a  sphynx,  an  enigma. 

The  sculjDture  of  the  symbolical  period  is  mighty  and  vast.  One 
thinks  of  the  colossal  Memnon,  the  statues  at  Karnac,  the  figures  of 
gods  in  China  and  India,  monstrous  figures  outraging  all  principles  of 
natural  form,  yet  strangely  impressive  to  so  many  millions  of  the  hu- 
man race,  who  have  found  in  these  their  clearest  emblem  of  the 
Divine.  In  all  these  symbolical  productions  the  beautiful,  as  such,  is  not 
sought.  It  is  the  mighty,  the  grand,  the  eternal,  the  everlasting,  the 
all-creatinsr; — these  are  the  vasrue  forms  in  which  the  Eternal  and 
Absolute  su2:o-ests  itself  first  to  the  human  race. 

We  find  that  in  every  nation,  whenever  movement  takes  place, 
the  symbolical  in  art  gradually  merges  into  the  beautiful.  Temples 
lose  somethins:  of  their  massiveness  in  favor  of  lightness  and  symme- 
try.  The  gigantic  structures  of  Egypt  give  place  to  the  delicate  pro- 
portions of  the  Parthenon  and  Acropolis.  The  many-armed  gods 
yield  precedence  to  the    scarcely  super-human    forms   of  Jupiter,  Mi- 


78  H0¥/  TO    UNDERSTAND   MUSIC. 

nerva,  Venus  and  Apollo.  The  eyes  of  Zeuxis  and  Apelles  discover 
for  mankind  the  beauty  everywhere  veiled  in  nature.  Thus  Art  comes 
to  the  classical  period,  when  beauty  has  become  complete,  in  so  far  as 
it  resides  in  form. 

SECTION    SECOND.       CLASSICAL    AKT. 

Classical  art  is  above  all  unconscious  of  any  want  of  harmony 
between  the  ideal  and  the  means  by  which  it  must  be  expressed.  The 
human  form,  that  temple  of  in-dwelling  spirit,  is  especially  the  chosen 
type  of  this  period,  and  sculpture,  therefore,  its  distinctive  expression. 
Of  the  content  and  meanino-  of  this  form  of  utterance  there  will  be 
occasion  to  speak  in  the  next  chapter.  For  the  present  let  it  be  ob- 
served that  sculpture  shows  a  progress  towards  the  spiritual  in  art. 
The  Greek  artist,  in  forsaking  the  vast  masses  of  architecture  in  favor 
of  the  comparatively  insignificant  bit  of  marble  only  so  large  as  the 
human  form,  was  bearinnino^  to  learn  the  same  lesson  that  was  taug-ht 
to  one  of  old,  hid  in  the  cleft  of  the  rock,  that  not  in  the  lightning, 
the  earthquake,  nor  in  the  thunder  could  one  find  God,  but  in  the 
"  still  small  voice."  Yet  here  we  anticipate,  for  the  voice,  as  a  token 
of  soul,  was  the  peculiar  ideal  of  the  Romantic.   , 

At  presQnt  the  artist  advances  only  so  far  as  to  discover  in  the 
human  form  the  most  complete  expression  of  the  beautiful.  Thus 
Hegel  says  (Bryant's  translation): 

"  The  Greek  ideal  has  for  its  basis  an  unchangeable  harmony  between 
spirit  and  sensuous  form  —  the  unalterable  serenity  of  the  immortal 
gods;  but  this  calm  has  about  it  something  cold  and  inanimate.  Clas- 
sic art  has  not  comprehended  the  true  essence  of  the  divine  nature, 
nor  penetrated  to  the  depths  of  the  soul.  It  has  not  known  how  to  de- 
velop its  inmost  powers  in  their  opposition,  and  again  to  re-establish 
their  harmony.  x\ll  this  phase  of  existence,  the  evil,  the  sinful,  the 
unhappy,  moral  suffering,  the  revolt  of  the  will,  remorse,  atid  the 
ao-onies  of  the  soul,  are  unknown  to  it.  Classic  art  does  not  pass  be- 
yond the  proper  domain  of  the  veritable  ideal. 

"As  to  its  realization  in  history,  it  is  scarcely  necessary  to  say  that 
we  must  seek  it  among  the  Greeks.  Classic  beaut}^,  with  the  infinite 
wealth  of  ideas  and  forms  which  compose  its  domain,  has  been  allotted 
to  the  Greek  people,  and  we  ought  to  render  homage  to  them  for  hav- 
inof  raised  art  to  its  hio-hest  vitalitv." 

This  was  the  perfect  completion  of  formal  beauty.  All  the  quali- 
ties of  symmetry,  proportion,  harmony,  unity,  and  the  like  that  enter 
into  and  constitute  perfection  of  form,  are  here  manifested  in  exquisite 


THE   CLASSICAL  AND  THE   ROMANTIC  ART.  7J) 

loveliness.    As  Hegel  says:   "Tlioie  neither  is  nor  ever  can  Ije  anything 
more  beautiful." 

Greek  plastic  art  attained  its  highest  achievements  in  the  time  of 
Phidias.  Immediately  after  this  Socrates,  Plato  and  Aristotle,  succes- 
sively, "effected  for  man,  once  for  all,  the  perfect  distinction  between 
idea  and  sensuous  image  —  between  content  and  form  —  the  indissolu- 
ble  union  of  which,  it  can  not  be  too  much  insisted  upon,  constitutes 
the  central  characteristic  in  classic  art.  Thus  had  the  human  mind 
passed  beyond  the  limits  of  the  classic  ideal,  and  henceforth  the  his- 
tory of  classic  art  is  but  a  history  of  its  decline  and  fall."  * 

SECTION   THIRD.       ROMANTIC    ART. 

The  key  of  romantic  art  is  "  internal  beauty  of  spirit"  as  distin- 
guislied  from  outward  beauty  of  form.  This  ideal  began  to  apjiear  in 
later  sculpture.  We  have  a  token  of  it  in  the  well-known  Venus  de 
Medici,  where  the  effort  is  made  to  represent  the  modesty  of  a  delicate 
woman  appearing  unclad  in  public.  The  conception  is  just,  but  untrue 
to  the  spirit  of  the  classical  ideal;  for  in  this  nothing  is  represented 
but  the  eternal,  the  enduring.  This  conflict  between  womanly  delicacy 
and  the  public  gaze,  creates  shame,  an  unbeautiful  and  temporary 
affection. 

Collision  is  the  principal  means  of  the  romantic.  By  collision  is 
meant  a  conflict  between  oj)posing  principles,  in  the  out-come  of  which 
the  superiority  of  the  nobler  principle  is  made  to  appear.  Collision  is 
totally  foreign  to  architecture,  and  almost  so  to  sculpture.  Later 
sculpture,  as  the  well-known  Laocoon,  introduces  tliis  element,  but 
to  the  destruction  of  absolute  formal  beauty.  The  work  of  art  is  no 
longer  heautiful  out-right  and  in  itself,  but  beautiful  on  the  whole, 
and  considering  what  it  means. 

In  romantic  art  it  is  not  the  human  form,  the  outward  covering 
which  furnishes  the;  artist  his  ideal  of  beauty,  but  the  inner,  the  soul, 
the  disposition,  the  life.  Hence  sculpture  which  has  to  do  mainly  with 
form,  gives  place  to  painting,  which  affords  perspective,  places  its 
heroes  in  suitable  scenes,  and  contrasts  one  personage  with  another; 
painting  in  turn  gives  place  to  music  and  poetry.  The  meaning  of 
these  various  changes  will  appear  in  the  next  chapter  where  we  have 
to  examine  each  art  in  its  turn. 

In  all  this  later  cycle  of  art  the  key-tone  is  unmistakeable;  it  is 
beauty  of  spirit  rather  than  of  the  form. 

*  Bryant. 


80  HOW   TO   UNDERSTAND   MUSIC. 

"  Tlie  material  of  romantic  art,  at  least  with  reference  to  the 
divine,  is  extremely  limited.  For,  in  the  first  place,  as  we  have  already 
jjointed  out,  nature  is  deprived  of  its  divine  attributes;  sea,  mountain, 
and  vallej',  streams,  springs,  time  and  night,  as  well  as  the  universal 
process  of  nature,  have  all  lost  their  value  with-  respect  to  the  repre- 
sentation and  content  of  the  absolute.  The  imao-es  of  nature  are  no 
longer  set  forth  symbolically.  They  are  stripped  of  the  characteristic 
which  rendered  their  forms  and  activities  approjjriate  as  traits 
of  a  divinity.  For  all  the  great  questions  concerning  the 
origin  of  the  world — concerning  the  whence,  the  whither,  the 
wherefore  of  created  nature  ami  humanity,  together  with  all  the 
symbolic  and  plastic  attempts  to  solve  and  represent  these  pi'ob- 
lems  —  have  vanished  in  consequence  of  the  revelation  of  God  in  the 
spirit;  and  even  the  gay,  tliousand-hued  earth,  with  all  its  classically- 
figured  characters,  deeds,  and  events,  is  swallowed  up  in  spirit,  con- 
densed in  the  single  luminous  point  of  the  absolute  and  its  eternal 
process  of  redemption  (^Erlosensgeschichte).  The  entire  content, 
therefore,  is  thus  concentrated  upon  the  internality  of  the  spirit  —  upon 
tlie  2:)erception,  the  imagination,  the  soul  —  which  strives  after  unity 
with  the  truth,  and  seeks  and  struggles  to  ])roduce  and  to  retain  the 
divine  in  the  individual  {SuhjeJd).  Thus,  though  the  soul  is  still  des- 
tined to  pass  through  the  world,  it  no  longer  pursues  merely  worldly 
aims  and  undertakings.  Rather,  it  has  for  its  essential  purpose  and 
endeavor  the  inner  struo-o-le  of  man  within  himself,  and  his  reconcilia- 
tion  with  God,  and  bi"ings  into  representation  only  personality  and  its 
conservation,  together  with  appliances  for  the  accomplishment  of  this 
end.  The  heroism  which  can  here  make  its  appearance  is  by  no  means 
a  heroism  which  makes  its  own  law,  establishes  regulations,  creates  and 
transforms  conditions,  but  a  heroism  of  submission,  for  which  every- 
thing is  settled  and  determined  beforehand,  and  to  which  there  thence- 
forth remains  only  the  task  of  regulating  temporal  affairs  according  to 
it,  of  applying  to  the  existing  world  that  liigher  principle  which  has 
validity  in  and  for  itself,  and,  finally,  of  rendering  it  practically  valu- 
able in  the  affairs  of  every-day  life.  We  may  now  comprise 
in  a  sino;le  word  this  relation  between  content  and  form  as  it 
appears  in  the  romantic — for  here  it  is  that  this  relation  attains 
to  its  complete  characterization.  It  is  this:  just  because  the  ever- 
increasing  universality  and  restless  working  depth  of  the  soul 
constitute  the  fundamental  principle  of  the  romantic,  the  key-note 
thereof  is  musical^  and,  in  connection  with  the  particularized  content 
of   the   imagination,   lyrical.      For   romantic  art  the   lyrical  is,  as   it 


THE   IDEAL    IN   THE    DIFFERENT   FORMS   OF   ART  81 

were,  the  elementary  characteristic  —  atone  vvhicli  tlie  epic  and  the 
drama  also  strike,  and  which  breathes  about  the  works  of  the  arts  of 
visible  representation  themselves,  like  a  universal,  frai^rant  odor  of  the 
soul;  for  here  spirit  and  soul  Avill  speak  to  spirit  and  soul  through  all 
their  imasres."* 


CHAPTER     TWENTY -FIFTH. 

THE  IDEAL  AS  MANIFESTED  IN  THE  DIFFERENT  FORMS  OF  ART. 

In  each  one  of  the  different  arts  we  are  able  to  trace  the  progress 
of  the  human  mind  through  the  various  stages  of  art-conception  de- 
scribed in  the  previous  chapters,  although  the  complete  progress  is  not 
fully  illustrated  in  any  one  of  them. 

SECTION  FIRST.       AliCHITECTUKE. 

The  oldest  of  the  arts  is  architecture.  Hegel  enumerates  three 
general  classes  of  structure  which  are  essentially  symbolical  in  char- 
acter. These  are:  (1)  Works  built  for  a  union  of  people;  such  were 
the  great  works  of  the  Assyrians,  Egyptians,  etc.,  all  of  which  were  in 
effect  religious  works.  So  Goethe  says,  "What  is  holy?  That  which 
binds  many  souls  together." 

(2)  Works  intermediate  between  buildings  and  sculpture.  Sucli  are 
the  Indian  Pagodas,  the  Obelisks,  the  Memnon,  Sphynx,  and  Labyrintli, 
expressive  of  vague  ideas  or  mystical  conceptions. 

(3)  The  transition  to  the  classical,  as  in  the  Egyptian  tombs,  Pyr- 
amids, etc. 

Classical  architecture  we  find  in  the  Greek  temples.  Romantic 
architecture  finds  its  expression  in  the  Gothic  Cathedrals  of  the  middle 
ages. 

Architecture  in  general  is  related  to  the  Ideal  as  the  expression  of 
the  symmetrical,  the  regular,  the  united,  the  grand;  —  the  atterance  of 
spirit  which  has  seized  the  material  from  without  and  formed  it,  but 
which  is  neither  represented  nor  conceived  as  residing  in  it.  So,  e.  g.^ 
the  Memnon  had  no  voice  of  its  own,  but  was  played  on  from  without 
by  the  rising  sun. 

*Hegel,  Bryant's  translation. 


82  now  TO   UNDERSTAND   MUSIC. 


SECTION    SECOND.       SCULPTURE. 


Sculpture  has  for  its  central  idea  "the  wonder  that  soul  should 
dwell  in  body."*  Again:  "Sculpture,  in  general,  perceives  the  wonder 
that  spirit  imagines  itself  in  the  wholly  material,  and  so  forms  this  ex- 
ternality that  it  becomes  actually  present  in  it,  and  acknowledges 
therein  the  suitable  look  of  itself." 

"Sculpture  is  the  peculiar  art  of  the  classical  ideal  as  such."f 
Tims  it  belongs  properly  to  the  classical  epoch,  and  the  few  works  of 
the  symbolic  period  are  to  be  regarded  rather  as  apprentice  works  in 
which  the  artist  is  acquiring  the  plastic  control  over  his  material,  than 
as  independent  and  significant  expressions  of  the  ideal. 

Hegel  speaks  of  three  styles  in  classical  sculpture:  1.  The  ITard, 
Axistere,  Strong^  characterized  by  great  masses  and  simple  content. 

2.  The  Purely  Heautiful,  characterized  by  a  more  living  beauty^ 
and  represented  in  the  works  of  Phidias. 

3.  The  Pleasing  style,  where  beauty  gives  up  something  of  its 
eternal  repose  for  the  sake  of  gaining  a  greater  appearance  of  human 
interest.  The  Apollo  Belvidere  if  not  properly  to  be  reckoned  in  this 
category,  is  at  least  transitional  between  the  style  next  preceding  and 
this. 

The  Content  and  meaning  of  this  form  of  art  is  already  fully  ex- 
pressed in  the  previous  chapter  on  "  Classic  Art,"  to  which  reference 
is  again  made.  The  pith  of  it  all  is  in  the  following  sentence  in  the 
third  volume  of  the  AesthetiJc:  "Sculpture  has  for  its  principle  and 
content.  Spiritual  Individuality  as  the  classical  ideal,  so  that  the  Inner 
and  Spiritual  finds  expression  to  the  spirit  in  the  immediate  bodily  ap- 
pearance, which  art  has  here  to  represent  in  actual  art-existence."  Or, 
again,  as  Benard  phrases  it,  "The  Content  of  sculpture  is  the  essence, 
the  substantial,  trvie,  invariable  part  of  character,"  as  distinguished 
from  what  is  accidental  and  transient. 

So,  also,  Mr.  Wm.  M.  Bryant:  "Sculpture  constitutes  the  first  step 
in  advance  beyond  Architecture,  and  it  ^?a?/.ses  loith  this  first  step.  It 
takes  as  its  object  the  simple  form  of  the  human  body,  and  by  this 
form  it  expresses  spirit,  because  spirit  does  not  yet  know  itself  apart 
from  this  form." 

Doubtless  the  artist  turned  himself  to  the  human  form  as  the  most 
suitable  expression  of  the  ideal  in  consequence  of  living  in  Greece,  a 
land  so  mild  of  climate  and  so  simple  in  mode  of  life  as  to  aiford  on 
every  side  attractive  examples  of  fully  developed,   healthful,   beautiful 

*  Hegel,     f  Bryant's  Hegel's  Philosopliy  of  Art,  "  Introductory  Essay." 


SCULPTURE   AND  TAINTING.  83 

men  and  women.  This  outer  manifestation  of  vital  licantywas  encour- 
aged by  the  influence  of  the  games  and  o-ymiiastic  training,  so  that  taking 
one  reason  with  another  it  niay  bo  doubted  wlunliei'  anvpartof  the 
world  at  any  period  of  its  history  ever  aiforded  a  sculptor  so  satisfactorv 
a  surrounding  as  Greece  in  its  prime.  At  the  same  time  intellectual 
life  had  become  more   visrorous.     The   imao-ination  had  lono-  heeu  kin- 

O  O  o 

died  by  the  Plomeric  poems,  recited  universally  by  the  strolling  min- 
strels. The  constant  wars  between  the  different  States,  and  the  vary- 
ins:  fortunes  of  defense  ao;ainst  the  Persians  did  much  to  stimulate  the 
mind  and  bring  out  the  force  of  individual  character.  Thus  it  happen- 
ed that  the  works  of  Phidias  were  produced  soon  after  the  times  of 
Pythagorus,  and  shortly  before  the  days  of  Socrates.  This  was  the 
moment  when  the  classical  idea  reached  an  equilibrium  between  form 
and  content. 

As  already  pointed  out,  Socrates,  and  after  him  Plato  and  Aristotle, 
accomjDlished  once  for  all  the  separation  l)etween/(9r?»  and  content  in 
art.  The  human  spirit  went  forward  to  a  higher  developincTit ;  it 
turned  inward  to  deeper  and  more  innnortal  thoughts.  It  was  then  that 
Romantic  Art  became  inevitable,  and  therein  a  revelation  of  the  ideal 
in  living,  self-determined  beavity,  for  which  sculpture  was  inade- 
equate. 

SECTION  THIRD.       PAINTING. 

When  we  think  seriously  u])oii  the  art  of  painting  and  remember 
its  list  of  triumphs  from  the  days  of  Appelles  and  Praxiteles  to  Rapliael, 
Correggio,  and  Angelo,  and  even  to  our  own  times,  we  cannot  wonder 
that  so  many  writers  upon  art  have  taken  this  as  the  type  and  coin})lete 
expression  of  the  artistic  faculty. 

Painting  represents  the  dawn  and  progress  of  a  deeper  perception 
of  the  beauty  of  the  visible  world.  Evidently  it  began  in  color,  the 
effort  to  i-epresent  the  evanescent  glories  of  the  heavens  at  sunrise  or 
evening,  the  exquisite  tints  of  flowers,  masses  of  foliage,  etc. 

At  first  painting  was  merely  decorative,  and  was  employed  to 
beautify  the  walls  of  the  more  precious  shrines,  tlie  best  rooms  in  the 
homes  of  the  wealthy,  etc. 

Afterwards  it  became  imitative.  The  forms  and  tints  of  flowers 
and  fruits  were  its  subjects.  We  trace  this  very  distinctly  in  the 
well-known  anecdote  of  the  two  great  Greek  painters  wlio  had  a  trial 
of  skill.  One  of  them  painted  a  plate  of  cherries  so  naturally  that  the 
birds  came  and  pecked  at  them;  the  other  represented  a  fly  on  the  nose 
of  a  portrait  so  naturally  that  the  other  artist  attempted  to  brush  it  off 
in  order  to  examine  the  picture  better.     Therein  he  acknowledged  his 


84  HOW  TO   UNDERSTAND   MUSIC. 

superior;  for  he  himself  had  deceived  only  the  unreasoning  birds,  while 
the  other  had  deceived  an  artist. 

Painting  in  any  large  sense  involves  at  least  three  arts:  Drawing 
(the  art  of  representing  outlines  as  they  really  appear),  Color  and  Per- 
spective, The  appearance  of  solid  projection,  that  is  to  say,  the  ap- 
pearance of  reality^  depends  upon  the  latter.  There  is  reason  to  sup- 
pose that  color  and  drawing  were  brought  to  a  high  degree  of  excel- 
lence by  the  Greeks  and  Romans,  as  indicated  by  the  anecdote 
given  above,  and  by  the  Pompeian  discoveries,  where  in  some  of  the 
rooms  the  colors  remain  to  the  present  day  as  clear  as  when  first  put 
upon  the  walls,  nearly  two  thousand  years  ago. 

The  sulijects  of  painting  in  that  olden  time,  as  we  have  said,  were 
flowers,  fruits  and  other  natural  objects  not  requiring  difficult  perspec- 
tive for  their  intelligible  representation,  and  the  gods  and  goddesses 
of  the  popular  mythology,  episodes  from  Homer,  and  the  poets, 
etc. 

To  the  painters  (and  their  brethren  the  poets)  mankind  owes  its 
perception  of  the  beautiful  in  nature.  The  plowman,  wearily  treading 
in  the  furrow  the  livelong  day,  sees  not  the  fleecy  clouds  above  him, 
nor  is  he  inspired  by  the  mighty  pinnacles  and  peaks  of  the  mountain 
horizon  towering  so  grandly,  as  if  matter  herself  were  striving  upward 
toward  her  God.  Nay,  he  overlooks  even  the  delicate  perfection  of 
the  daisies  and  buttercups  whose  sunshine  his  furrow  so  relentlessly 
ends.  Yet  in  the  water  he  drinks  to  quench  his  thirst  he  might,  if  he 
would,  see  all  these  distant  glories  repeated;  as  if,  out  of  this  pure 
fountain  of  refreshing,  the  voice  of  God  called  to  man  to  look  upward 
for  the  secret  of  the  beautiful  and  the  holy.  But  it  is  only  once  in  a 
thousand  years  that  a  Burns  rises  above  the  depressing  influence  of  a 
plowman's  environment.  It  is  the  idle  painter,  or  his  brother,  the  poet, 
lolling  at  ease  under  the  shading  oak  to  whom  this  deeper  vision  of 
beauty  is  revealed. 

When  we  speak  of  painting  as  a  form  of  high  art,  representa- 
tive of  the  spiritual  meanings  of  nature  and  life,  we  immediately  think 
of  that  glorious  company  of  great  Italian  masters  of  the  fifteenth 
century,  chief  among  whom  were  Raphael  (1483-1520),  Leonardo  da 
Vinci  (1452-1519),  Titian  (1477-1576),  Michael  Angelo  (1474-1563), 
Tintoret  (1513-1594),  Paul  Veronese  (1532-1588).  Nor  can  we  forget 
their  eminent  successors  in  the  next  century,  Claude  Lorraine  (1600- 
1682),  and  Rembrandt  (1606-1669). 

In  the  productions  of  these  great  artists  we  find  the  art  of  Paint- 
ing unfolded  in  all  its  capacities  except  that  of  strict,  literal  realism — 


SCULPTURE  AND   PAINTING.  85 

imitation  of  nature  as  such;  this  was  left  for  hiter  masters.  Every  pro- 
duction of  these  ohl  masters  has  its  mannerisms.  Natural  forms  are 
conventionalized,  or  at  times  distorted,  witli  unhesitating  bohlness. 
Historical  anachronisms  are  connnon  in  tlie  historical  pieces.  But  they 
show,  nevertheless,  a  life,  a  meaning,  an  expression  of  spirit,  such  as 
nowhere  existed  in  this  art  before. 

Were  we  to  analyze  the  impressions  they  severally  ])r()duce  upon 
us,  we  should  find  certain  marked  difl'erences  in  the  iaculties  to 
whicli  they  appeal,  as  pointed  out  in  Chapter  XXIII.  Thus,  e.  r/.,  the 
works  of  Titian  and  Paul  Veronese  are  noted  for  their  nuignificent  and 
exquisite  coloring.  In  this  quality  they  appeal  to  the  "  pleasing  of 
sensation,"  and  less  decidedly  to  the  spiritual  as  such.  Raphael  is 
noted  for  the  expression  of  his  works.  They  are  characterized  by  a 
serene  and  matchless  grace,  such  as  one  seeks  in  vain  elsewhere. 
Michael  Angelo,  on  the  contrary,  is  neither  a  great  colorist,  nor  a  com- 
poser of  graceful  forms.  But  he  conceives  with  such  superhuman 
boldness,  and  pierces  so  deeply  into  the  very  pith  and  marrow  of  the 
world  about  him,  that  he  stands  recoarnized  on  all  hands  as  one  of  the 
very  greatest  minds  who  have  made  human  nature  illustrious  by  their 
participation  in  it. 

The  art  of  Painting  also  shows  a  progress  beyond  sculpture,  in  the 
direction  of  the  spiritual.  The  massive  matter  of  architectui-e,  and  tlie 
solid  dimensions  of  sculpture,  have  here  given  place  to  merely  the  ap- 
pearance of  matter.  But  this  diminution  of  material  is  accoihpanied 
by  a  most  important  increase  in  power  of  expression,  and  this  espec- 
ially in  the  direction  of  a  more  complete  mastery  of  the  scale  of  beauty. 
For  here  at  the  basis  of  it  we  have  the  wonderful  delio-hts  of 
color  and  "tone,"  an  entire  new  kino-dom  of  sense-irratification. 
Every  facility  for  representing  human  relations  and  deeds,  which 
sculpture  or  basso-relievo  could  furnish,  here  exists  entire,  and  in 
the  far  greater  perfection  of  natural  perspective.  ()iil\-  in  a  single 
direction  is  there  a  loss,  namely  in  the  direction  of  the  sublime, 
in  which  architecture  certainly  has  greater  power.  Yet  this 
concession  is  immeasurably  atoned  for  by  the  wonderful  increase 
in  power  to  represent  the  feelings  of  the  soul.  For  while 
Architecture  gave  us  the  mighty  enigmas  of  Egypt,  and  the 
everlasting  beauty  of  the  Parthenon;  and  Sculpture  revealed  to  man  the 
beauty  and  dignity  of  his  own  form  wliou  permeated  by  a  noble  soul, 
and  thus  by  images  of  Mercury  and  .lujiiter  led  his  mind  toward  the  true 
God;  Painting  has  given  to  mankind  not  oidy  the  beauties  of  field  and 
flower,  and  preserved  for  liim  a  life-like  send:)lance  of  the   living   faces 


86  HOW  TO   UNDERSTAND   MUSIC. 

of  its  heroes,  but  has  portrayed  in  bodily  form  the  incarnate  sufferings 
of  his  Redeemer. 

SECTION  FOURTH.       MUSIC, 

The  three  forms  of  art  previously  examined  have  this  in  common, 
that  they  address  the  observer  by  means  oifoi'ms  permanently  existing 
msjKice.  Architecture  deals  in  matter  in  vast  masses,  only  a  small  pro- 
portion of  which  in  any  single  form  comes  into  actual  contact  with 
spirit.  The  exterior,  the  form,  is  shaped  and  fashioned  by  spirit  ac- 
cording to  its  own  ideal.  In  a  pyramid,  for  example,  how  slight  a  pro- 
portion of  the  whole  is  the  surface.  The  inner  part  does  indeed  bear 
the  impress  of  spirit  in  the  fact  of  its  location  so  as  to  maintain  the 
integrity  of  the  form;  yet  this  relation  to  spirit  is  faint  at  most.  In  a 
temple  the  mass  of  matter  is  greatly  reduced  and  the  interior  parts  are, 
distinctly  subservient  to  the  mechanical  necessities  of  structure.  Here 
therefore,  soul  has  left  its  impress  upon  a  much  greater  proportion  by 
the  whole  mass  than  in  the  pyramid. 

Sculpture  again  greatly  reduces  the  quantity  of  matter,  and  is  much 
more  particular  about  the  quality  of  it.  Only  the  finest  marble  will 
answer  to  tlie  artist's  dem-ands.  But  here  art  has  to  do  with  the  form  and 
with  the  surface^  which  jDractically  is  the  form.  The  inner  is  inert,  dead. 
Yet  sculpture  conceives  of  this  inner  part  as  having  been  alive,  as  is  indi- 
cated by  the  care  with  which  muscles  and  joints  and  all  particulars  which 
indicate  internal  organizatioxi  are  represented.  The  spirit  does  not  reside 
even  in  the  most  speaking  statue;  yet  one  thinks  it  a  suitable  residence 
of  soul,  and  scarcely  wonders  at  the  miracle  of  Psyche. 

In  painting,  the  quantity  of  matter  is  still  further  reduced,  and  art 
has  to  do  with  forms,  and  the  appearances  of  matter^  by  means  of  which, 
as  we  saw,  relations  of  soul  are  manifested. 

Yet  all  these  forms  of  art  deal  with  forms  permanently  existing  in 
space,  outside  of  and  entirely  separate  from  the  most  a23preciative  ob- 
server. As  Hegel  well  says,  "  Painting,  as  we  saw,  may  likewise  give 
expression  in  physiognomy  and  shape,  to  the  inner  life  and  energy,  the 
determinations  and  passions  of  the  heart,  the  situations,  conflicts  and 
fate  of  the  soul;  but  what  we  have  always  before  us  in  painting,  are 
objective  appearances,  from  which  the  observing  7",  as  inner  self,  re- 
mains entirely  separate.  One  may  never  so  completely  absorb  and 
sink  himself  in  the  subject,  the  situation,  the  character,  the  form,  of  a 
statue  or  painting,  admire  the  art  work,  gush  over  it,  nay,  may  complete- 
ly fill  himself  therewith; — it  matters  not,  these  works  of  art  are  and  re- 
main independent  objects,  in  review  of  which  we  come  not  beyond  the 
position  of  an  observer." 


MUSIC.  87 

Music,  on  the  contrary,  builds  no  permanent  fabric  in  space.  It 
has  no  form  which  can  be  seen.  ]t  is  a  voice.  Out  of  the  unseen,  in 
cunning-lv  modulated  tones,  it  speaks  to  the  heart  of  the  hearer.  Like 
the  voice  itself  it  no  sooner  utters  its  word  than  it  is  silent.  Whenever 
we  would  recall  its  messao-e  we  must  recreate  the  inforniino- 
word. 

In  this  way  music  approaches  the  observer  as  none  of  the  previous 
arts  can.  When  it  is  ])erceived  it  is  no  loni>;er  somethinir  outside  of 
and  separate  from  the  observer;  it  is  within  liini;  if,  has  penetrated  into 
the  very  center  of  the  soul.  Hence  its  power  to  absorb  thii  observer, 
to  carry  him  along  with  it,  so  that  men  everywhere  "delig-ht  to  sing 
with  the  melody,  to  strike  with  the  measure,  and  in  dance  music  it 
comes  into  the  very  bones." 

This  remarkable  power  of  music  lies  fundamentally  in  the  sense  of 
hearing  to  which  it  appeals,  and  in  tlnie^  which  is  the  material  of  its 
form.  For  by  the  sense  of  hearing  we  are  brouglit  into  our  nearest 
relations  to  other  souls.  It  is  with  the  ear  that  man  receives  the  word 
of  reproof,  the  approval  of  his  fellow,  and  the  commandment  of  his 
God.  This  wonderful  mechanism-  of  hearing  is  particularly  the  sympa- 
thetic channel  of  feeling.  Many  shades  of  emotion  may  be  conveyed 
by  modulations  of  the  speaking  voice,  without  use  of  words.  x\ll  this 
material  of  inflection  and  pitch  relation,  carried  to  an  almost  infinitely 
greater  perfection  of  delicate  organization  than  in  speech.  Music  em- 
ploys with  such  cunning  mastership  as  to  indicate  very  plainly  that 
this  was  one  of  the  ends  intended  in  all  the  delicate  organization  of  the 
inner  ear. 

But  music  rests  its  greatest  power  in  its  modulation  in  time.  The 
beat,  the  measure,  chimes  in  with  the  human  pulse,  hurries  it  or  retards 
it;  the  motive  brightens  up  the  rhythm,  modifies  it,  characterizes  and 
individualizes  the  different  moments  in  a  piece;  and  measure,  motivi/.a- 
tion,  and  rate  of  movement,  all  combine  with  the  melodic  and  harmonic 
filling  up,  to  complete  a  form  of  utterance  in  which  soul  speaks  to  soul 
not  of  its  ideas  and  notions,  but  of  \t^  feelings^  its  general  states.  Thus 
the  content  of  music,  in  general,  is  Emotion.  "  It  extends  itself  in 
every  direction  for  the  exj^ression  of  all  distinct  sensations  and  shades 
of  joyousness,  serenity,  jokes,  humor,  shoutings  and  rejoicings  of  soul  ; 
as  well  as  the  graduations  of  anguish,  sorrow,  grief,  lamentatioiy,  dis- 
tress, pain,  regret,  etc.;  and,  fiiuilly,  aspiration,  worship,  love,  etc., 
belong  to  the  proper  sphere  of  musical  expression."  (HegeFs  Aesthetik, 
III.  144.) 

Of  the  material  of  music  we   have  already   learned  in   the   earlier 


88  HOW   TO   UNDERSTAND   MUSIC. 

lessons  of  this  course.  Its  form  is  a  syiametrically  co-ordinated  suc- 
cession of  movements,  expressive  of  a  sequence  or  cycle  of  feelings. 

Thus  music  in  its  very  nature  expresses  spiritual  relations.  True 
the  material  of  hearing  may  lend  itself  to  play.  Mere  jingle  is  not 
witlKHit  charm.  Agreeable,  piquant,  or  bizarre  combinations  of  tone- 
color  mav  tickle  or  delight   the  sense    of  hearino;   without    utterino-    a 

•/CD  O  o 

message  to  the  soul.  But  properly  conceived  all  these  are  part  of  the 
vocabulary  of  this  voice  ;  part  of  its  material  for  spiritual  communica- 
tion. Tlierefore  music  is  in  itself  a  romantic  art.  And  it  quite  agrees 
with  this  idea  tliat  its  systematic  and  artistic  development  is  the  very 
latest  of  all  the  arts. 

Hence  the  terms  symbolical  and  classical  have  only  a  modified  ap- 
plication in  it,  as  wo  shall  hereafter  see.  The  earliest  attempts  at  music, 
such  as  the  Gregorian  or  Ambrosian  hymns,  tlie  oldest  songs  of  tlie 
church,  we  may  well  enougli  style  symbolical.  They  fully  agree  wiLh 
the  peculiarities  of  this  epoch  in  all  the  other  arts.  The  true  handling 
of  the  material,  the  value  of  tone  as  tone,  and  the  significance  of  time 
and  melodic  modulation  they  have  not  yet  fathomed.  And  yet  their 
quaint  cadences  have  a  strange  power,  and  are  the  source  of  all  the  dis- 
tinctly "ecclesiastical"  conventionalities  of  music. 

The  classic  in  music  exists  in  all  those  works  which  afford  a  content 
entirely  harmonious  and  commensurate  with  their  form.  Such  works 
are  those  of  Bach,  Haydn,  Mozart,  and  part  of  those  of  Beethoven  and 
Schubert. 

In  many  works  of  the  latter  two  composers,  form  and  content  do 
not  coincide  ;  the  beautv  of  the  form  as  form  is  sacrificed  to  the 
expressiveness  and  meaning  of  the  work.  Here,  therefore,  form  is  less 
than  content;  and  we  have  the  romantic  moment  in  art.  To  this  cate- 
gory belong  many  of  tiie  Beethoven  works, notably  such  as  the  "moon- 
light" sonata,  and  the  last  two  or  three,  almost  everything  of  Chopin's 
and  Schumann's,  etc.  The  true  relation  of  all  this,  we  shall  learn  later. 
(See  Parts  V.  and  VI.) 

SECTION   FIFTH.       POETRY. 

We  have  seen  from  the  beginning  of  this  discussion  that  the  beau- 
tiful is  the  expression  of  the  ideal  by  means  of  forms  directly  addressed 
to  the  senses  and  intuitions,  rather  than  to  the  reason.  In  architecture 
the  ideal  merely  begins  to  appear;  in  sculpture  it  sliines  out  more 
plaitdy,  though  even  in  this  form  the  spirit  is  not  living;  in  painting 
are  represented  transition  movements  of  human  life,  the  very  point  of 
spiritual  defeat  or  triumpli,  and   thus  we  go   deeper  than   the    merely 


POETRY.  89 

outward  form,  and  become  conscious  of  the  inner  life  of  spirit  as  rejDre- 
sented  in  the  appearance  before  us.  In  music  we  go  still  further  in  tiie 
same  direction.  For  here  vre  have  not  a  representation  which  stands  out- 
side of  us  and  over  against  us,  iiulependent,  to  appreciate  which  re- 
quires that  the  beholder  should  at  least  yield  himself  to  ii;  but  Instead  (jf 
it  a  finely  organized  and  infinitely  complex  voice,  which  tells  its  story  di- 
rectly to  the  soul,  and  as  already  pointed  out  moves  and  excites  the 
hearer,  "  carries  him  along  with  it,  quite  otherwise  than  the  way  "  in 
which  other  arts  affect  him.  Music  represents  the  self-moved  activity 
of  the  soul.  In  no  other  art  is  the  difference  so  sfreat  between  the  in- 
spired  and  the  merely  mechanically-put-together. 

Yet  music  also  has  its  limitations.  As  already  pointed  out  in  th(> 
passages  on  Romantic  art,  the  true  meaning  of  this  stage  of  clevelop- 
ment  is  the  fuial  beauty  of  spirit  attained  through  conflict  and  suffering. 
The  ideal  of  the  romantic  is  none  other  than  that  of  the  Christian  re- 
ligion itself ;  the  attainment  of  complete  repose,  and  blessedness  of 
spirit,  in  which  bodily  sense  and  appetite  and  all  the  negative  or  sinful 
elements  of  the  moral  nature  are  finally  subjected  to  the  reason,  itself 
illumined  by  clear  vision  of  the  truth,  and  the  whole  spirit  glorified 
into  the  imaofe  of  the  Divine.  This  state  is  attainable  onlvthrouo-h 
conflicts,  in  which  one  after  another  the  evils  of  the  nature  are  met  and 
overcome;  nor  yet  by  conflict  only,  but  by  conflict  sustained  in  faith 
and  love.  This  is  the  Christian  ideal.  Nor  is  it  the  mission  of  art  to 
instruct  or  definitely  or  directly-  aid  the  individual  in  this  work.  Yet 
in  an  indirect  way  it  does  do  this  and  always  will.  For  it  is  the  artist 
who  earliest  sees  the  beauty  of  every  natural  appearance,  the  deeper 
meaning  of  the  lake,  and  ocean;  and  it  is  the  artist,  the  poet,  who  sees 
deepest  into  the  dejiths  of  the  soul.  Hence  in  art-works  one  finds  re- 
presented the  moments  of  this  redemption  conflict,  through  which  every 
individual  must  pass;  seeing  which  the  tempted  soul  takes  heart  again, 
knowing  that  some  one  has  already  passed  by  the  same  path  to 
victory. 

Now  these  conflicts  of  the  spirit. are  not  representable  in  architecture 
or  sculpture.  Later  sculpture  tried  this;  but  it  is  a  work  foreign  to  the 
proper  genius  of  that  art.  In  painting  they  may  come  to  a  limited  ex- 
tent. But  a  ])ainting  is  necessarily  but  a  single  moment  of  life;  it  gives 
us  onlv  a  position,  a  relation,  a  contrast.  AVhereas  no  account  of  a 
soul-conflict  is  intelligible  which  does  not  give  us  the  opposing  princi- 
ples, and  also  their  collision  and  final  resolution  in  the  triumph  of  the 
good;  and  this  is  a  story  too  long  for  painting. 

Music  can  give  us  a  prolonged  action  of  the  soul, a  lif(>-]iistory,  and 


90  HOW  TO   UNDERSTAND   MUSIC. 

in  this  is  its  great  superiority  in  spirituality  to  the  other  forms  of  art. 
Nevertheless  we  come  here  to  its  limitations.  A  collision  is  an  opposi- 
tion of  evil  and  good.  The  good,  in  music,  is  the  consonant,  the  well- 
sounding,  the  melodious,  the  pleasing;  the  evil  is  the  dissonant,  the 
discordant,  the  dis-united,  the  heterogenous.  Now  music  itself  as 
music  has  properly  and  chiefl}^  to  do  with  the  consonant,  ov  with  the 
dissonant  introduced  in  strict  subjection  to  the  consonant.  Just  as  soon 
as  the  dissonant  forms  any  considerable  proportion  of  the  musical  art- 
woi'k,  it  ceases  to  be  music  and  becomes  unmusical,  tiresome,  as  we  see 
in  long  passages  of  Wagner's  later  operas.  The  proper  sphere  of  music 
is  to  portray  the  progress  of  the  soul  from  grief  or  sadness  to  comfort, 
joy,  and  blessedness;  it  can  do  this  with  an  intelligibility  entirely  its 
own.  It  is,  so  to  say,  the  art  of  the  ideal  sphere  of  the  soul,  the  sphere 
into  which  sin  and  its  consequent  suffering  has  never  entered.  What- 
ever is  bright,  tender,  joyful,  resolved,  or  noble,  music  expresses  with 
peculiar  j^ower.  But  evil  lies  outside  its  pure  province.  This,  then  is 
one  of  its  limitations. 

Music  suffers  a  second  limitation  in  its  entire  want  of  relation  to 
reason.  It  is  the  ofHce  of  reason  to  receive  from  the  senses  and  the 
understaiiding  the  apparent  facts  of  the  outer  world,  to  compare  them, 
discern  their  essential  nature,  and  especially  the  deeper  laws  that  regu- 
late their  co-ordination  and  succession.  It  is  also  its  office  to  determine 
concerning  any  particular  piece  of  conduct  that  in  view  of  its  real 
nature  and  its  relation  to  other  parts  of  the  same  life,  it  does  or  does 
not  conduce  to  virtue;  that  such  and  such  things  are  related  to  the 
lower  parts  of  the  nature,  and  such  and  such  others  to  the  higher. 
Reason  is  the  faculty  of  man  by  means  of  which  he  generalizes  and  so 
arrives  at  a  distinct  conception  of  the  truth.  This  faculty  is,  therefore, 
the  ruling  intelligence  of  the  entire  man  w-ith  power  to  co-ordinate  his 
movements  and  conduct  as  well  as  his  thought  so  as  to  bring  him  more 
rapidly  and  surely  along  the  road  to  goodness  and  God.  Now  music 
is  outside  of  reason.  Reason  begins  to  act  only  when  it  is  furnished 
with  distinctly  formulated  conceptions  or  thoughts,  and  these  are  not 
found  in  music.  Music  and  reason,  therefore,  have  nothing  in  common 
with  each  other,  but  belong  to  different  departments  of  the  soul.  Music 
goes  in  through  sense-perception  and  addresses  the  feelings  directly  as 
such.  Reason  operates  in  the  range  of  thought,  and  by  comparisons 
between' the  information  it  receives  from  sense-perception  and  its  own 
a  priori  conceptions  (time,  space,  and  causality)  is  able  to  arrive  at 
certain  forms  of  trutli;  wliieli  may  or  may  not  afterward  be  applied  to 
the  feelings  and  motives  of  conduct. 


POETRY.  91 

Thus  as  soon  as  art  contemplates  conflicts  of  soul  and  a  blessedness 
of  victory  residing  in  a  complete  union  of  all  the  powers  of  the  spirit, 
including  the  reason,  some  higher  and  more  universal  form  of  art  be- 
comes inevitable.  Such  a  form  we  have  in  poetry,  which  expresses  it- 
self aot  in  shapes  and  forms  outwardly  visible  as  such,  but  through 
words,  which  reason  understands. 

Because  it  finds  its  expression  in  words  and  through  ideas  and 
conceptions  2:)roperly  belonging  to  reason,  poetry  comes  into  nearjorox- 
imity  to  prose,  to  ordinary  discourse.  Poetry  is  distinguishable  from 
prose  in  its  form  as  well  as  its  content. 

The  poetic  form  or  mode  of  expression  is  imaginative  and  pictur- 
esque. However  intensified  by  thought,  the  mode  of  expression  must 
be  such  as  to  create  in  the  inner  sense  pictures  of  the  outer  world,  ov 
of  such  and  such  living  beings  in  such  and  such  conflicts  and  relations. 
Thus  poetry  in  its  picturesque  modes  of  embodying  thought  addresses 
the  inner  sense  exactly  as  an  external  reality  resembling  it  would  ad- 
dress the  same  feelings  going  in  through  the  ordinary  gates  of  sense- 
perception.  This  is  the  distinctive  trait  of  poetic  expression.  Verse 
is  an  added  grace,  which  is  useful  in  so  far  as  it  lends  smoothness  and 
musical  quality  to  the  discourse,  and  is  a  token  of  the  complete  control 
which  the  creative  artist  exercises  over  his  material.  Verse  also  serves 
a  purpose  in  idealizing  the  style  and  so  setting  it  apart  to  nobler  uses 
than  those  of  common  every-day  life. 

The  content  of  poetry  is  spiritual  existence  and  eternal  truth,  as 
illustrated  in  the  lives  and  conduct  of  men.  "The  entire  circle  of  the 
outer  world  enters  poetry  only  in  so  far  as  the  spirit  finds  its  activity  in 
ruling  over  the  material  ;  as  the  environment  of  man,  also,  his  outer 
world,  which  has  its  essential  value  only  in  reference  to  the  inner  of 
consciousness,  but  dares  not  make  claim  to  the  honor  of  being  itself  the 
exclusive  subject  of  poetry.  Then  the  word,  this  most  plastic  material, 
which  belongs  immediately  to  the  spirit,  and  is  the  most  capable  of  all 
of  seizing  the  interests  and  movements  of  things  in  their  inner  life, 
must  here  be  applied  to  the  highest  meaning  of  which  it  is  capable. 

"  Thus  it  becomes  the  chief  task  of  poetry  to  bring  to  consciousness 
the  power  of  spiritual  life,  and  especially  whatever  swells  an.d  sinks  in 
human  passion  and  feeling,  or  passes  quietly  before  the  attention;  the 
all-embracing  kingdom  of  human  idea,  activity,  work,  fate,  the  machin- 
ery of  this  world  and  the  divine  government.  So  has  it  been  and  still 
is  the  most  general  and  broadest  teacher  of  human  kind.  Its  teaching 
and  learning  are  knowledge  and  experience  of  this  which  is.  Star, 
beast,  and  plant  neither  know  nor  experience  their  law;  but  man  exists 


92  HOW  TO   UNDERSTAND   MUSIC. 

in  the  suitable  law  of  his  actual  life  only  when  he  knows  what  he  him- 
self is  and  what  is  about  him;  he  must  know  the  power  which  drives 
and  manages  him; — and  such  a  knowledge  it  is  wiiich  Poetry  gives  in 
its  first  substantial  form."      (Hegel.) 

The  superior  power  of  poetry  lies  equally  in  its  mode  of  expression 
and  in.  its  content.  In  the  former  because  all  men  comprehend  and  are 
moved  by  picture-building  discourse.  This  mode  of  expression  also 
lends  itself  most  easily  to  the  artist's  way  of  conceiving  truth,  which 
is  by  direct  intuition  and  not  by  reason.  Hence  in  the  earliest  time  the 
deepest  eternal  trutlis  were  perceived,  not  clearly,  but  as  if  through  a 
veil;  in  epic,  ode,  psalm,  projDhecy,  and  drama  they  found  clearer  and 
clearer  expression.  And  thus  long  before  the  philosopher  had  dis- 
covered that  man  had  a  soul.  Poets  and  seers  had  shown  to  the  spirit  of 
man  the  love  and  providence  of  his  God. 

The  principal  kinds  of  poetry  are  tliree:  The  Epic^  which  treats 
of  the  deeds  of  heroes,  and  the  fortunes  of  a  people;  the  Lyric,  in  which 
the  human  heart  sings  its  own  sorrow,  hope,  joy,  or  love;  and  the 
Drama,  in  which  men  live  and  act  l^efore  us,  and  so  by  collisions  and 
conflicts  the  lesson  of  motive  and  consequence  is  read. 

In  its  very  nature,  therefore,  the  art  of  Poetry  is  universal.  It 
belongs  to  every  age,  and  to  every  grade  of  intelligence.  And  in  all 
it  elevates,  refines,  a-nd  educates. 

Yet  in  its  very  definiteness  and  the  completeness  with  which  the 
artist  may  work  out  his-  full  meaning  in  it,  it  leaves  less  room  for  the 
imagination  of  the  reader.  And  in  this  respect  Music  possesses  a  certain 
advantage  over  it.  We  have  thus  comj^Ieted  the  circle  of  the  arts,  and 
have  seen  in  all,  and  more  and  more  plainly  as  we  have  advanced, 
that  the  ideal  of  them  all  is  the  expression  of  the  True  in  sense-forms 
— in  other  words,  the  expression  of  the   beautiful. 

Art  is  a  sort  of  Jacob's  ladder  on  which  from  the  days  of  Adam 
until  now  the  angels  of  God  have  descended  to  man,  and  up  which  man 
has  gone  to  seek  his  God. 


Part   Fifth. 


STUDIES  IN  CLASSICAL  MUSIC 


LESSON     TWENTY-SIXTH. 

THE  PLAYFUL  JVEOMENT  IN  THE  CLASSIC. 

We  find  the  starting  point  of  the  playful  in  the  classic  in  such 
productions  of  Bach,  as  the  little  fugue  in  C  minor,  No.  2  in  the 
"Clavier."  (Plays.)  Here  the  playful  spirit  is  unmistakable.  It  is 
shown  in  the  rhytiim,  tlie  quick  movement,  and  especially  in  the  way 
in  which  one  part  catches  up  another.  These,  again,  are  to  be  referred 
to  the  Gigue  of  Bach,  Mozart  and  other  composers  of  that  day,  wiiich 
were  an  idealized  form  of  an  old  Italian  dance  in  triplet  rhythm. 

Observe  now  the  following:  (Plays  the  Scherzo  from  the  Beetho- 
ven Sonata  in  C,  op.  2.)  This  charming  little  piece  deserves  to  be 
heard  twice.  It  is  one  of  the  most  complete  little  bits  of  imitative 
writing  to  be  found  in  Beethoven.     This  is  in  thematic  style. 

Observe  now  this:  (Plays  the  iVllegro  in  E  flat,  f  time,  third 
movement  of  the  Sonata  in  E  flat,  op.  7.)  This  is  the  lyric  style  at  first, 
but  in  the  second  period  falls  into  the  imitative  forms  for  a  while.  The 
charming  feature  in  this  work  is  its  delicacy.  Observe  that  the  "trio" 
refrains  from  definitely  enunciated  melody,  although  a  melody  is  sug- 
gested by  the  progression  of  its  harmonies. 

Again,  observe  this:  (Plays  the  Menuetto  from  Sonata  in  D, 
op.  10.)  In  point  of  structure,  this  little  piece  very  much  resembles 
the  Allegro  last  played.  The  impressive  feature  in  it  as  one  knows  it 
better,  is  the  peculiarly  graceful  turn  of  the  melody,  in  wliich  it  is  not 
surpassed  bv  any  of  the  Beethoven  short  movements. 

Observe  again  this,  which  is  in  the  form  of  a  Rondo:  (Plays  Finale 
of  Sonata  in  G,  op.  14.)  Here  we  have  a  similar  spirit,  and  the  agree- 
able contrast  of  the  sins^ino:  melodv  in  C  which  beo-ins  in  tho  seventv- 
third  measure. 

93 


94  HOW  TO   UNDERSTAND  MUSIC. 

Still  more  unmistakable  in  its  form,  and  very  beautiful  in  its  way, 
is  the  Schei'zo  from  the  "  Pastoral"  sonata  of  Beethoven,  op.  28.  This 
movement  goes  very  fast.  It  is  relieved  by  a  trio  which  contains  a 
lovelv  melodic  phrase,  repeated  several  times  with  different  harmonies. 
(Plays.) 

Of  the  same  general  character  are  the  other  playful  movements  in 
the  Beethoven  Sonatas.  Those  in  the  sonatas  for  piano  and  violin,  as 
well  as  the  trios  for  violin,  'cello  and  piano,  afford  yet  more  decided 
humoristic  traits.  They  are  full  of  quirks  and  catches  of  time,  caprices 
of  motives  —  in  short,  they  are  frolicsome. 

Movements  of  this  kind  were  introduced  into  the  sonata  by  Bee- 
thoven, as  a  compensation  for  the  greater  length  and  seriousness  he 
imparted  to  the  other  movements  as  compared  witli  those  of  Haydii 
and  Mozart.  Independent  movements  of  this  kind  are,  however,  nu- 
merous in  the  Bach,  Haydn  and  Mozart  works.  See,  e.  g.,  the  Mozart 
"  Pieces,"  (Peters'  ed.)  and  similar  collections  of  other  composers. 
All  of  these  movements  are  idealized  dance-forms. 

List  of  Illustratioxs. 

1.  Bach  Invention  ia  C,  No.  1. 

2.  Scherzo  from  Beethoven  Sonata  in  C,  op.  2. 

3.  Allegro  (3d  mov't)  of  Sonata  iii  E  flat,  op.  7,  Beethoven. 

4.  Menuetto  from  Sonata  in  D,  op.  10,  Beethoven. 

5.  Finale  of  Sonata  in  G,  op.  14,  Beethoven. 

6.  Sclierzo  from  Pastoral  Sonata,  Beethoven. 


LESSON     TWENTY-SEVENTH. 

THE  TENDER  AND  SOULFUL  IN  THE  CLASSIC. 

In  order  rightly  to  comprehend  the  works  of  the  greatest  composers 
we  need  to  give  especial  attention  to  their  deepest  and  tenderest 
moments.  These,  of  course,  are  to  be  found  in  the  slow  movements  of 
the  sonatas  and  symphonies.  These  movements  are  founded  upon  the 
people's  song;  they  are  in  lyric  forms,  in  slow  and  sustained  melodies, 
which  in  the  longer  movements  are  contrasted  with  second  and  third 
subjects  of  a  different  character,  as  we  already  saw  in  our  studies  in 
form. 

The  general  type  of  these  movements  is  the  Cantabile.     They  are 


THE   TENDER  AND   SOL'LFUL   IN   THE   CLASSIC.  95 

not  to  be  found  in  Bach,  nor  yet  in  Handel.  Haydn  gives  us  tlic  ibrm 
but  not  the  deep  spirit  we  now  look  for  in  a  iiioveinent  of  this  kind. 
A  jjleasing  example  is  found  in  one  of  liis  s^niphonies.  (Plays  Z,((r(jo 
Cantabile  fi'om  Haydn's  symphony  in  D,  No.  5  in  Wittinan's  arrange- 
ments for  piano  solo,  Ed.  Peters,  No.  197.)  The  second  subject  is  in 
the  principal  key  of  the  movement,  G,  Ijeginning  in  the  thirty- 
first  measure. 

The  slow  movements  in  the  pianoforte  works  are  not  so  serious  or 
well-sustained,  because  the  pianoforte  of  that  day  had  not  the  "singing 
tone"  necessary  for  properly  rendering  movements  of  this  kind.  For 
the  same  reason  such  movements  can  not  be  met  with  in  the  Mozart 
pianoforte  sonatas.  In  these  the  ideas  lack  breadth  and  depth.  In 
Mozart's  string  quartettes  and  symphonies,  however,  we  find  move- 
ments of  this  kind  beautifully  sustained,  but  not  characterized  by  the 
depth  we  find  in  Beethoven.  Such  a  movement  is  the  Andante  from 
the  5th  Quintette.  (Plays.)  Another  example  is  the  Larghetto  in  D 
from  the  Clarinet  concerts.  ( "  Mozart  x\lbum,"'  Ed.  Peters,  No.  1823, 
p.  3G.) 

Beethoven,  however,  is  the  great  master  of  this  type  of  composi- 
tion. We  find  traces  of  it  even  in  his  earliest  works,  as  in  the 
Adagio  of  the  first  sonata,  op.  2  in  F  minor.  This  movement  was 
originally  written  by  him  when  he  was  fifteen  years  old;  it  formed  part 
of  the  first  quartette  for  piano,  violin,  viola  and  'cello.  The  quartettes 
were  not  published  until  after  his  death.  The  principal  subject  is  ex- 
tremely tender  and  fine.     (Plays  the  entire  movement.) 

The  Largo  appassionata  of  the  second  sonata,  op.  2  in  A,  is  a  still 
more  notable  example.  The  principal  idea  of  this  movement  is  ex- 
tremely large,  and  full  of  feeling.  The  second  idea,  beginning  with 
the  last  three  notes  of  the  eighth  measure,  is  rather  insignificant,  and 
indeed  is  used  merely  as  an  interlude.  The  second  subject,  2:)roper, 
begins  v/ith  the  last  three  notes  of  the  nineteenth  measure.  The  depth 
and  seriousness  of  this  movement  are  due  to  its  slow  })ac(>,  the  long 
tones  in  the  melody,  and  the  low  staccato  notes  in  the  bass,  which  give 
an  impression  of  repressed  passion. 

The  beautiful  Adagio  grazioso  of  the  sonata  in  G,  op.  31,  No.  1,  is 
perhaps  a  better  example  of  a  purely  classical  movement  of  this  kind, 
since  it  has  all  the  classic  peculiarities  in  a  high  degree;  such  as  repose, 
symmetry,  moderation,  purity,  and  an  exquisite  grace  such  as  one  may 
search  through  many  volumes  elsewhere  without  finding.  (Plays.) 
This  piece,  as  indeed  the  whole  sonata,  .seems  a  jDurely  classical  work. 
It  means  absolutely  nothing  more   than   it    says.     It  is  a  beautiful  ex- 


96  HOW  TO   UNDERSTAND  MUSIC 

ample  of  Beethoven's  most  cheerful  work  when  he  was  at  the  very 
prime  of  his  health  and  powers.  Many  other  works  of  his  mean  more 
than  they  say  and  so  belong  to  the  romantic.  This  one  is  the  full 
expression  of  its  own  idea,  and  for  that  very  reason  requires  a  certain 
maturity  and  refinement  of  taste  to  properly  appreciate  it. 

A  short  movement  in  dance  form,  but  in  very  much  the  same 
serious  vein,  is  found  in  the  Menuetto  in  E  flat,  out  of  the  third  sonata 
of  this  opus  31.     (Plays.) 

A  very  long  but  Vjeautiful  movement  in  similar  spirit  is  furnished 
by  the  second  part  of  the  sonata  in  E,  op.  90.  This  is  one  of  the  most 
refined  and  satisfactory  cantabile  pieces  of  Beethoven.  It  has  in  it  an 
exquisite  air  of  tenderness  and  nobility,  like  that  of  a  refined  and  noble 
woman.     (Plays.) 

Yet  another  movement  of  the  same  kind  is  found  in  the  Tempo  dl 
Menuetto  of  the  sonata  in  G,  op.  30,  for  piano  and  violin,  one  of  the 
three  great  ones  dedicated  to  the  Emperor  Alexander  II.  (Letthisbe 
heard  if  convenient.)  Nor  ought  we  to  overlook  the  exquisite  Andante 
and  variations  of  the  Sonata  ajyjxissionata,  op.  57,  which  are  also 
characterized  by  the  same  repose  and  elevated  beauty.     (Plays.) 

In  all  these  movements  the  predominant  impressions  are  of  repose, 
and  depth  of  soul.  As  Hegel  says  of  Greek  sculpture,  "this  is  the  un- 
alterable permanence  of  the  immortal  gods." 

List  of  Illustrations. 

1.  Largo  Cantabile  from  Haydn's  5th  Symphony,  in  D,  No.  5,  in  Wittmann's  arr, 

for  piano  solo,  Ed.  Peters,  No.  197. 

2.  Andante  from  Quintette,  Mozart. 

:}.  Adagio  from  Sonata  in  F,  op.  2,  No.  1,  Beethoven. 

4.  Largo  Appassionata  from  Sonata  in  A,  op.  2,  No.  3,  Beethoven. 

5.  Adagio  Grazioso  from  Sonata  in  G-,  op.  31,  No.  1,  Beethoven. 

6.  Menuetto  from  Sonata  in  C  minor,  op.  31,  No.  3,  Beethoven. 

7.  Tempo  di  Menuetto  from  Sonata  in  G,  op.  30,  Beethoven. 

8.  Andante  and  Variations  from  Sonata,  op.  57,  Beethoven. 

9.  Larghetto  in  D,  from   Clarinet  Concerto,  Mozart  (p.  36  in  "Mozart  Album," 

No.  1823  Peters.^ 


EXPRESSIONS   OF   THE   HONDO.  97 


LESSON     TWENTY-ETaHTTT. 

THE     CONTENTED,    THE    JOVIAL,    THE     COMFORTABLE,    AS     EX- 
PRESSED IN  TTTE  RO:^DO. 

As  to  its  form  the  rondo  consists  of  a  principal  subject  three  or 
four  times  repeated,  with  second  and  third  subjects  intervening  be- 
tween these  repetitions.  As  already  appeared  in  the  second  part  of 
tins  work,  the  rondo  differs  from  the  sonata-piece  in  having-  less  thematic 
work,  and  less}  seriousness.  The  rondo  is  derived  from  the  people's 
song,  and  represents  a  spirit  of  cheerfulness,  of  burgh(3r-like  satisfac- 
tion; a  comfortable  contentment  in  life  which  is  too  lively  for  repose, 
and  too  cheerful  for  work  or  striving.  Thus,  e.  r/.,  observe  the  follow- 
ing:    (Plays  Rondo  in  E  flat  from  Beethoven's  op.  7.) 

In  the  very  first  idea  we  have  this  feelin"'  of  rather  satisfied  com- 
fort,  and  the  secondary  matter  only  serves  to  bring  this  spirit  out 
more  })laiidy. 

For  anotlier  example  take  the  rondo  out  of  the  little  sonata  in  G, 
op.  14,  No.  2.     This  is  still  more  playful.     (Plays.) 

Even  in  the  serious  and  deeply  moved  sonatas,  the  rondo  is  in  ;i 
spirit  which  indicates  that  conflict  has  had  its  victory  in  happiness  or 
something  approaching  it.     (Plays  rondo  of  aonaita.  pathetique.) 

One  of  the  most  interesting  of  the  Beethoven  rondos  is  the  ex- 
tremely bright  and  clever  Rondo  Capriccioso,  op.  129,  one  of  his  very 
latest  compositions.  The  theme  of  this  might  have  been  written  by 
Haydn,  it  is  so  clear  and  sunny,  but  Haydn  could  never  have  indulged 
himself  in  the  endless  caprices  of  the  elaboration.  (Plays  Rondo 
Capriccioso  of  Beethoven.) 

If  further  examples  are  desired,  let  them  be  found  in  the  two 
rondos  of  Beethoven,  op.  51  in  C  and  G,  and  Mendelssolni's  well-known 
Rondo  Capriccioso. 

In  several  of  the  Beethoven  sonatas  we  find  in  place  of  the  rondo 
a  movement  called  "Finale,"  which  is  in  the  same  form  as  the  sonata- 
piece  except  that  a  third  subject  (or  middle-piece)  takes  the  place  of 
the  Elaboration.  An  example  of  this  is  found  in  the  first  sonata  in  F, 
op.  2.  In  other  instances  the  Finale  is  a  sonata-piece,  but  conceived  in 
7 


98  HOW  TO    UNDERSTAND   MUSIC. 

a  ligbtcr  spirit.     Such  are  found  in  the  Sonata  op.  10  m  C  minor,  op. 
31  No.  2  in  D  minor,  op.  31  No.  3  in  E  flat,  etc. 

List  of  Illustrations. 

1.  Rondo  of  Sonata  in  E6,  op.  7,  Beethoven. 

3.  Rondo  of  Sonata  in  6,  op.  14,  No.  2,  Beethoven, 
o.  Rondo  of  Sonata  Pathetique,  op.  13,  Beethoven. 

4.  Rondo  Capriccioso,  op.  129,  Beethoven. 

5.  Two  Rondos,  op.  51,  Beethoven. 
C.  Rondo  Capriccioso,  Mendelssohn. 


LESSON     TWENTY-NINTH. 

THE  CYCLE  OF  THE  SONATA. 

The  form  of  the  sonata-piece  and  the  composition  to  which  it  has 
given  its  name  we  liave  already  considered  in  Lessons  XV.  and  XVI. 
The  emotional  cliaracteristics  of  its  component  j^arts  have  now  been 
considered  in  detail.  We  are  ready,  therefore,  to  enter  upon  the  study 
of  the  work  as  a  wliole.  This  cannot  be  done  profitably  otherwise  than 
by  repeatedly  hearing'  an  entire  sonata  until  one  knows  it  in  its  sepa- 
rate movements  and  parts,  and  again  in  the  unity  of  the  complete  work, 
so  that  one  thinks  of  the  different  movements  as  chaj^ters  in  the  same 
life  -  history,  or  as  successive  and  logically- related  states  of  the  same 
person.  This  unity  of  the  sonata  as  a  whole  is  one  of  the  peculiar  ex- 
cellencies of  Beethoven's  works.  We  do  not  find  the  same  comprehen- 
sive grasp  on  the  part  of  any  other  composer  in  this  form  of  composi- 
tion. 

The  first  movement  represents  the  earnest  and  intellectually  de- 
termined part  of  the  work.  The  second,  the  reposeful  and  deep  mo- 
ments. The  third,  the  out-come  into  healthful,  every-day  activity.  If 
there  are  four  movements,  a  playful  moment  intervenes  between  the 
second  and  third  or  the  third  and  fourth,  as  a  sort  of  interlude.  The 
first  movement,  therefore,  strikes  the  key-note  of  the  whole  work.  If 
its  subjects  are  trivial  and  scantily  handled,  no  great  depth  of  senti- 
ment in  the  following  part,  the  slow  movement,  can  reasonably  be  ex- 
pected. We  already  know  that  the  different  movements  in  the  same 
sonata  have  no  motives  in  common;  they  "are  not  even  in  the  same  key. 
They  are  not  composed  at  the  same  time.     Generally  we  may  conceive 


THE   CYCLE   OF   THE   SONATA.  99 

of  a  sonata-piece  as  having  first  occurred  to  the  composer  merely  as  a 
single  motive,  with  certain  dimly-perceived  possibilities  of  elaboration. 
Possibly  a  second  motive,  that  of  the  lyric  digression,  was  thought  of  at 
the  same  time.  Perhaps  the  entire  Principal  was  written  out  immcdi- 
atelv;  by  chance  the  Second  also,  though  this  is  not  common.  The  inter- 
vening passage  work  and  the  elaboration  may  liave  occu])ied  the  leisure 
moments  of  several  days.  Thus  after  considerable  delay  the  composer 
is  in  possession  of  the  entire  first  movement.  It  may  be  a  week  later 
before  he  composes  the  slow  movement,  and  a  month  before  the  sonata 
is  finished.  Yet  tliis  does  not  2:0  to  denv  the  unitv  of  the  sonata  as  a 
whole.  For  do  not  novelists  write  the  most  absorbing  tales  in  ])re- 
cisely  similar  piecemeal  way?  These  delays  represent  the  time  of  medi- 
tation, duriiig  which  the  author  decides  what  the  natural  out-come  of 
his  characters  shall  be,  taking  into  account  all  the  circumstances  of 
their  history  as  represented. 

In  some  cases  the  motives  of  a  work  were  thought  of  several  years 
before  they  were  finally  worked  up.  In  Beetlioven*'s  "  note-books" 
(rude  memorandum  books  of  music  paper,  on  which  he  wrote  down  at 
the  moment  any  good  idea  that  struck  him)  we  find  the  motives  of 
liis  symphonies  sometimes  for  several  years  before  the  symphony  was 
composed.  Some  of  these  motives  undergo  remarkable  changes  l^efore 
they  come  into  a  form  satisfactory  to  the  great  master.  When  the 
sonata  is  done  it  is  not  always  satisfactory.  Thus,  the  well-known 
'^'•Andante  Favoris  in  F"  of  Beethoven  was  written  to  c:o  in  the  Wald- 
stein  sonata  in  C,  op.  53.  But  on  trial  it  did  not  suit  him;  perhaps 
because  of  its  length.  So  it  was  taken  out  and  published  separately, 
and  the  short  "  Introduction"  which  now  stands  there,  put  in  its  place. 
Yet  it  would  be  wrons;  to  conclude  from  this  that  the  association  of 
pieces  in  the  sonata  was  a  matter  of  experiment,  instead  of  insight  and 
logical  development.  It  is  rather  as  if  an  author  had  concluded  on  re- 
flection that  in  a  certain  chapter  he  had  allowed  an  unsuitable  weight 
to  certain  tendencies  in  some  one  of  his  principal  characters. 

A  few  general  traits  of  these  sonatas  we  may  easily  observe.  Thus, 
if  the  first  movement  is  vio-orous  and  stronsilv  marked,  the  ensuing 
movements  partake  of  the  same  decision.  To  take  a  very  strong  ex- 
ample, consider  Sonata  Pathetique.  Here  the  Introductio.n  (Grave) 
opens  very  broadly  and  passionately.  (Plays.)  Then  follows  an  equally 
forcible  Allegro  which  goes  at  an  extremely  rapiil  pace,  and  is  strongly 
accented  and  marked  by  wide  transitions  of  power.  (Plays.)  The 
Elaboration  in  this  is  equally  forcible,  and  includes  motives  from  the 
Introduction  as  well  as  from  the  Allegro  proper.     (Plays.)     Then  after 


iOO  now  TO   UNDERSTAND   MUSIC. 

the  completion  of  this  movement,  there  follows  an  Adagio  of  the  most 
deep  and  spiritual  expression.  (Plays.)  On  this  follows  a  Rondo, 
which  manifests  the  habitual  carelessness  of  the  rondo,  as  throuo-h  a 
veil  of  tears.  The  third  subject  in  it  is  perfectly  dry  and  unemotional, 
only  to  give  place  for  an  unusual  and  unprecedented  recapitulation  of 
the  principal  subject  of  the  rondo.  It  maybe  confessed  that  this  ron- 
do, fine  as  it  is,  sometimes  seems  inadequate  to  the  sonata  it  concludes; 
and  yet  Beethoven  put  it  there,  and  the  world  generally  accepts  this  as 
one  of  his  most  satisfactory. 

Again  in  the  sonata  in  F,  op.  2  No.  1,  we  have  an  extremely  for- 
tunate example  of  association.  The  Allegro  is  founded  on  one  of 
Friedmann  Bach's.  It  has  no  properly  developed  lyric  digression.  The 
Adagio  is  one  of  the  loveliest,  and  as  we  know,  taken  out  of  a  youthful 
work.  The  Menuet  is  pretty,  and  the  Finale  charming  and  impetuous, 
and  saved  from  a  flavor  of  the  morbid  only  by  the  exquisite  melody  in 
A  flat  (third  subject). 

It  is  unnecessary  to  multiply  examples.  To  properly  comprehend 
the  sonata  in  all  its  possibilities  is  to  comprehend  everything  in  instru- 
mental music.  All  that  can  here  be  done  to  assist  the  student  is  to 
suggest  the  unity  of  the  sonata  as  a  whole.  More  must  come  by  study 
and  experience.  It  will  be  found  a  profitable  experience  in  every  way 
to  resume  this  study  from  time  to  time,  using  the  four-hand  arrange- 
ments of  the  symphonies  of  Haydn,  Mozart  and  Beethoven.  Some 
one  work  is  to  be  taken  and  each  separate  movement  studied  until  it 
becomes  familiar;  afterwards  the  entire  symphony,  and  this,  also,  sev- 
eral times  in  succession.  It  is  an  excellent  thing  in  a  boarding  school, 
for  example,  when  an  eight-hand  arrangement  of  one  of  these  works  is 
undertaken;  we  have  there  immediately  four  pupils  practically  inter- 
ested in  one  work.  The  length  of  time  necessary  to  bring  such  a  per- 
formance to  a  satisfactory  state,  suffices  to  thoroughly  familiarize  the 
entire  school  with  the  motives  and  leading  features  of  the  work.  In  this 
way  very  much  genuine  musical  cultivation  can  be  had  in  places  where 
orchestral  music  is  never  heard.  For  such  a  purpose  a  list  is  added, 
below. 

List  of  Illustrations, 

« 

1.  Sonata  Pathetique,  op.  13,  Beethoven.  ' 

3.  Sonata  in  F  minor,  op.  2,  Beethoven. 

3.  Four-hand  arrangement  of  Beethoven's  Septette,  op.  20. 

4.  Beethoven's  2d,  5th  and  7th  Symphonies,  for  four  hands.    (Peters'  ed.) 

5.  Beethoven  Sonatas  for  Piano  and  Violin,  arranged  for  four  hands.     In  partic- 

ular Nos.  5  in  F,  7  in  C  minor,  and  8  in  G. 


THE   BEAUTIFUL   IN   CLASSIC   MUSIC.  101 


LESSOX  THIRTIETH. 

THE    BEAUTIFUL    IN    CLASSIC    MUSIC,    AND    THE    TRANSITION 

TOWARD  THE   ROMANTIC. 

As  compared  with  sensational  modern  works,  classical  music 
seems  cold,  impassive.  Much  of  this  impression  deioends  on  one's  mu- 
sical habits  of  thouglit.  A  student  who  spends  a  large  irdvt.  of  his 
practice  on  finger  exercises  and  studies,  will  find  almost  any  classical 
sonata  musical  and  grateful  to  him;  but  one  who  idles  away  his  pre- 
scribed "hours"  on  pleasing  and  capriciously  chosen  i:)ieces,  and  never 
practices  exercises  or  studies,  will  find  a  sonata  tiresome — at  least, 
until  it  is  heard  often  enougli  for  its  real  character  to  impress  itself 
upon  an  inattentive  player.  Still  it  is  l)y  no  means  necessary  for  a 
student  to  avoid  modern  works  in  order  to  enjoy  a  sonata.  It  will  be 
enough  if  he  is  willing  to  decide  for  himself  that  he  prefers  music  as 
such,  to  the  strained  and  forced  or  empty  in  expression. 

When  we  take  uj)  a  piece  of  Bach's,  as,  for  example,  the  first 
movement  of  the  Italian  Concerto,  it  at  first  seems  tame.  AVhen  heard 
many  times,  however,  a  certain  fluency  and  genuine  melodiousness  ap- 
pear in  it,  which  l)etray  the  touch  of  genius,  (Plays.)'  The  piece  seems 
to  our  ears  somewhat  too  long.  This  impression  is  not  due  to  its  ab- 
solute length,  but  to  its  want  of  contrast.  If  we  take  up  a  larger 
piece  of  Bach's,  such  as  the  Passacaglia  in  C  min.  (organ  works  ar- 
ranged for  four  hands),  we  find  in  it  a  certain  monotony,  yet  a  decided 
progress  toward  a  climax.  The  piece  is  a  set  of  variations  on  a 
"ground  bass,"  or  cantusfermus  which  goes  through  all  the  variations 
unchanged.  It  ends  with  a  splendid  fugue.  When  we  compare  these 
variations  with  each  other  we  observe  that  each  is  more  complex  than 
the  preceding.  (Plays  theme  and  variations,  remarking  the  com- 
mencement of  each.  Afterwards  it  would  be  well  to  examine  the  va- 
riations in  detail,  pointing  out  tlie  motives  of  each.  Then  play  the 
whole  again.)  In  all  this  we  have  no  new  disj)Osition  or  emotional 
contrasts  represented,  but  only  an  unfolding  of  what  was  already  ])()S- 
sible  in  the  theme.  As  the  rose  in  full  bloom  displays  no  petals  which 
were  not  enrolled  in  the  bud,  so  these  latest  and  most  luxui'iant    bios- 


J02  HOW  TO   UNDERSTAND  MUSIC. 

soms  give  us  nothing  that  was  not  already  implied  in  the  theme. 
Nevertheless  it  vpas  only  Aaron's  rod  that  budded,  and  it  is  only  a 
theme  of  such  a  man  as  Bach  that  blossoms  out  like  this. 

Here  we  conic  upon  one  of  the  characteristic  moments  of  classical 
music.  It  is  that  in  which  music  itself  is  trying  its  wings  for  itself. 
Nothing  here  seeks  expression  save  only  the  musical  ideas  themselves, 
nay,  tlie  single  idea  of  the  theme,  and  its  logical  implications. 
In  order  to  appreciate  it,  therefore,  one  needs  to  hear  it  many  times, 
and  especially  to  have  within  himself  a  really  musical  nature.  All  the 
greatest  masters  since  Bach  have  admired,  wondered  at,  and  enjoyed 
these  works  of  his,  the  greatness  of  which  lies  in  the  lengths  they  go 
as  music,  and  their  entire  freedom  from  any  thing  like  emotional  effort. 
They  are  not  without  emotional  expression;  they  could  not  be,  with  a 
rhythmic  pulsation  so  thoroughly  established  and  so  long  maintained, 
for  the  heart  falls  in  witli  it  and  retards  or  accelerates  in  sympathy. 
Add  to  this  the  constantly  augmenting  energy  of  the  motivization,  and 
we  have  a  certain  amount  of  emotional  expression  in  spite  of  the  mo- 
notony of  the  harmonic  foundation.  Yet  with  all  its  energy  and 
strength,  and  its  climax,  it  remains  in  some  way  cold.  It  is  like  a  won- 
derful statue  in  music. 

Let  us  examine  it  in  the  lio-ht  of  our  studies  in  the  beautiful. 
Beginning  on  the  lowest  plane,  we  ask  what  has  it  for  the  pleasure  of 
hearing?  In  answer  it  must  be  at  once  admitted  that  merely  sensuous 
charm  is  not  here  sought.  It  sounds  well;  all  its  dissonances  are  prop- 
erly prepared  and  resolved,  and  the  finest  of  all  harmonic  instincts  pre- 
sided over  the  arrangement  of  its  chord-sequences.  Here,  therefore, 
it  jdelds  only  negative  results.  We  ask  again,  what  has  it  for  satis- 
faction in  contemplation?  And  in  this  direction  it  has  much  to  say 
for  itself.  Each  period  is  symmetrical  and  well  concluded.  The 
strictest  unity  prevails  throughout.  The  work  as  a  whole  does  not 
manifest  symmetry,  since  it  does  not  consist  of  two,  three,  or  any  num- 
ber of  sections  or  members  standino-  over  ao^ainst  each  other.  This 
element  of  form  is  wantinrr.  The  Passacan-lia  is  merelv  the  life-histo- 
ry  of  a  single  idea  from  its  first  simple  form  through  its  devplo])ment 
to  its  return  again  into  repose,  the  JV^irvcma  of  music.  Yet  this  de- 
velopment itself  is  traced  with  such  skill,  each  step  follows  so  natural- 
ly on  the  preceding  and  the  whole  is  managed  without  any  overdoing 
or  forceful  effort,  that  in  the  unity  and  movement  of  the  work  we  have 
one  of  the  earliest  forms  in  which  the  beautiful,  as  such,  found  expres- 
sion in  music.  Nor  is  the  work  without  a  decided  outlook  in  the  di- 
rection   of  the  higher  perception   and  spiritual   realization   of  beauty. 


THE   BEAUTIFUL   IN   CLASSIC   MUSIC.  103 

Perhaps  this  is  shown  in  tlie  persistence  of  the  theme;  and  its  final 
conflict  and  victory  in  the  fugue.  All  that  goes  ])efore  is  to  interest 
us  in  the  theme.  We  must  not  forget  that  in  Bach's  day,  lovers  of 
music  generally  were  familiar  with  fugal  phraseology  and  followed  with 
readiness  and  interest  all  the  vicissitudes  of  the  subject  as  only  musi- 
cians now  do,  so  that  intricacies  of  treatment  which  sound  to  us 
somewhat  far-fetched  and  difficult,  sounded  to  them  natural  and  right. 
On  the  other  hand,  the  extreme  modulations  common  in  modern 
works,  and  the  brilliancy  and  comparative  looseness  of  treatment  in 
modern  pieces,  would  have  occasioned  them  a  genuine  shock  of  sur- 
prise and  disapproval. 

Again,  let  us  observe  the  Andante  from  Mozart's  fifth  quintette 
for  strings  (No.  3  on  the  list  below).  It  is  in  the  form  of  a  rondo. 
The  principal  subject  is  this.  (Plays  first  subject,  IG  measures.)  The 
second  subject  is  in  E  fiat.      (Plays.) 

Now  when  we  attentively  consider  the  impression  this  work 
makes  upon  vis,  we  immediately  perceive  that  it  manifests  the  ele- 
ments of  formal  beauty  in  a  much  more  complete  degree  than  the 
Bach  works  just  mentioned.  Considered  merely  as  music  it  is  less  se- 
rious than  the  Bach  pieces.  For  this  reason  it  bestows  less  attention 
upon  developing  a  single  subject.  The  world  goes  more  easily  here  than 
there.  Life  has  certain  ameliorations.  The  episode  comes  not  in  the 
form  of  additional  trouble  for  the  theme,  but  in  a  complete  digression 
from  it,  like  a  visit  to  a  new  world.  (Plays  entire  movement  again.) 
Such  an  introduction  of  a  complete  digression  within  a  movement 
is  very  rare  in  Bach.  Mozart's  appreciation  of  its  restfulness  marks 
his  deeper  comprehension  of  the  emotional  nature  of  music.  Examined 
with  reference  to  its  degree  of  beauty  this  piece  does  not  manifest  im- 
portant diff"erence  from  that  of  Bach.  Thus  in  the  merely  well-sound- 
ing; the  Mozart  Andante  is  stronger.  Tt  has  more  svmmetry  and 
sweetness;  a  more  evident  harmony  and  proportion  of  parts;  the  com- 
plete digression  into  another  key  relieves  the  ear.  Still  this  last  com- 
parison is  hardly  fair,  for  the  Passacaglia  has  its  modulatory  structure 
determined  by  its  ground  bass.  On  the  other  hand  the  Vf.ich  piece  is 
very  much  more  earnest  and  vigoror.s.  The  intellectual  element  pre- 
ponderates in  it.  As  already  pointed  out,  it  is  a  monologue,  a  discus- 
sion of  a  single  theme  carried  out  thoroughly  in  all  its  parts,  with  uo 
regard  for  the  hearer.  The  Mozart  Andante,  on  the  contrary,  is  dis- 
tinctly lyric.  It  is  a  song.  And  so  in  all  its  parts  it  is  simpler,  more 
easily  comprehended,  more  pleasing.  Yet  both  pieces  are  so  masterly 
in  their  wav  that  neither  can  be  accredited  with  a   general   superiority 


104  HOW   TO    UNDERSTAND   MUSIC. 

over  the  other.     The  .latter  maiks  a  progress  in   the   direction  of  the 
secular,  and  the  softer.and  less  divine  sides  of  beauty. 

Or  take,  asfain,  the  Beethoven  "Moonlio-ht"  sonata.  Its  first 
movement  is  also  a  monody  on  a  single  theme.  (Plays  the  first  strain 
of  melody  of  Adagio  in  sonata.)  It  is  of  the  most  plaintive  character. 
The  same  spirit  pervades  the  entire  movement.  (Plays  the  entire 
movement.)  This  sonata  has  always  been  regarded  as  a  cry  of  the 
heart.  Tlie  beautiful  as  such,  the  symmetrical,  reposeful,  the  well-pro- 
portioned and  sweet,  are  not  here  the  objects  of  expression.  But  instead 
of  them  we  have  the  very  heart  of  the  composer;  its  sorrow,  its  grief, 
its  desire.     (Plays  again.) 

This  wonderfully  sad  movement  is  followed  by  a  Scherzo  which  to 
some  extent  relieves  the  tension.  The  afflicted  mourner  takes  up  again 
the  sympathies  and  associations  of  life;  not  with  undisciplined  buoyancy, 
but  with  a  sad  and  tender  resignation.  Is  this  all  fancy?  (Plays  Al- 
legretto.) On  this,  again,  follows  the  Finale,  which  is  in  fact  a  regu- 
larly constructed  sonata-piece  with  all  its  appurtenances.  In  this  we 
have  the  soul  in  its  hours  of  solitude,  when,  no  longer  distracted  by  the 
world  about  it,  all  the  waves  of  its  grief  come  over  it.  At  times  hope 
springs  up,  but  only  to  be  immediatel}'  overwhelmed.  (Plays  the  en- 
tire Finale.) 

Thus  in  the  whole  sonata  as  well  as  the  movements  separately,  we 
have  a  life  history,  not  of  a  single  musical  theme  and  its  implications 
(as  in  the  Passacaglia),  but  a  story  of  the  human  heart,  a  voice  from 
the  soul.  However  fine  wc  may  find  this  sonata  in  point  of  construc- 
tion, we  do  not  listen  to  it  for  its  music  merely.  It  is  distinctly  a  poem, 
carrying  a  meaning  which  is  not  in  any  sensuous  charm  of  pleasant!}' 
chosen  harmonies  or  agreeable  sequences  of  melody,  nor  yet  in  any 
formal  beauty.  Indeed,  the  beautiful,  as  such,  is  not  the  impression 
this  work  leaves  upon  ns,  but  its  expression^  its  sorroio.  In  this,  then, 
we  come  upon  the  romantic  moment  of  music,  when  art  becomes  the 
expression  of  the  joys  and  sorrows  of  the  soul. 

Yet  another  example.  Let  us  take  the  Beethoven  Sonata  in  E  flat, 
op.  31  No.  3.  This  belongs  to  the  more  pleasing  moments  of  experience. 
The  Allegro  opens  with  a  motive  that  sounds  like  a  question,  an  im- 
pression having  its  source  partly  in  the  motive  itself  but  more  in  the 
harmony  which  supports  it.  The  entire  movement  is  short  and  not 
seriously  intended.  (Plays  entire  movement.)  Tliis  is  followed  by  a 
Scherzo  which  has  something:  sonar-like  in  it,  although  it  is  in  the  same 
form  as  the  preceding,  a  sonata-piece.  (Plays.)  This  is  followed 
by  a  Menuetto,  a  genuine  cantahile  movement  (one  of  the  loveliest,  by 


THE   BEAUTIFUL   IN   CLASSIC  MUSIC.  105 

tlie  way),  which  is  a  simple  binary  form.  (Plays,)  This,  again,  is  fol- 
lowed by  the  Finale,  which  also  is  a  sonata-piece,  perhaps  the  only  ex- 
ample in  the  Beethoven  sonatas  where  three  of  the  forms  of  the  same 
sonata  are  of  this  kind.  This  movement  is  extremely  jolly  and  pretty. 
(Plays.)  Listen  now  to  the  entire  sonata.  (Plays  entire  sonata.)  Here, 
as  you  perceive,  we  have  not  a  moment  of  grief  or  any  deep  sorrow,  nor 
yet  any  great  moral  earnestness.  But  instead  of  it  the  musical,  the 
symmetrical,  the  pleasing,  the  beautiful.  If  now  we  would  bo  fully 
conscious  of  the  musical  distance  we  have  passed  over  we  should  liear 
again  the  Bach  Passacaglia.  (If  agreeable  the  Passacaglia  may  here 
be  heard  again.) 

When  we  thus  bring  these  two  extremes,  or  at  least  widely  separ- 
ated points,  of  the  musical  scale  into  juxtaposition,  we  are  able  to  real- 
ize that  the  beautiful  itself  is  not  the  principal  subject  of  the  Bach 
piece;  and  that  from  Bach  to  Beethoven  a  great  progress  has  been 
made  in  the  direction  of  the  lovely  and  the  expressive. 

Yet  one  more  example.  Let  us  observe  carefully  the  Air  and  ^'ari- 
ations  in  B  flat  by  Schubert.  (Plays  Schubert's  air  from  the  Im- 
promptu in  B  flat,  op.  142.  Then  play  the  beginning  of  each  variation, 
callina:  attention  to  the  naotivization  of  each,  and  afterward  the  entire 
piece.)  In  this  lovely  work  we  have  something  very  different  from 
any  thing  we  find  in  the  Passacaglia,  or  even  in  the  Mozart  Andante. 
Yet  its  prevailing  expression  is  one  of  beauty  and  grace.  A  careful 
examination  of  it  will  indicate  considerable  attention  to  the  well-sound- 
ing, a  strict  but  purely  unconscious  observance  of  formal  beauty,  and 
beyond  this  a  perceptible  flavor  of  more  inward  and  exquisite  move- 
ment of  spirit.  Yet  this  without  at  all  going  into  the  depths  of  the 
soul.  Like  a  pleasant  sunset,  one  regards  it  with  delight,  but  eoni- 
posure.  As  when  the  duties  of  the  day  are  done,  its  pleasant  ex})er- 
iences  remembered,  all  its  annoyances  and  cares  forgotten,  in  })oarcful 
contemplation  one  awaits  the  hour  of  sleep. 

In  all  these  examples  we  have  had  to  do  chiefly  with  formal  beauty, 
save  where  the  "Moonlight"  sonata  brought  us  to  a  still  more  inward 
exercise  of  spirit.  The  progress  thus  traced,  from  the  strict  musical 
logic  and  elevated  formal  beauty  of  Bach,  through  the  pleasing  aiul 
enchanting  in  Mozart,  Beethoven  and  Schubert,  and  the  deeply  heart- 
felt in  Beethoven's  latest  works,  goes  yet  further  in  the  romantic 
school,  as  we  shall  hereafter  see.  This  same  progress  is  traced  from 
the  vocal  side  in  Part  VII.,  on  Songs,  where  new  conditions  lead  to 
new  and  important  results.  The  smaller  classical  composers,  such  as 
Clementi  and  Dussek,  display  in  the  main  the  same  general  character- 


10(3 


HOW  TO   UNDERSTAND   MUSIC. 


istics  as  we  have  observed  in  Beethoven,  yet  with  less  unity  and  im- 
aginative power.  Indeed  we  must  think  of  Dussek  as  an  imitator,  or 
at  least  follower  of  Mozart,  and  as  breaking  no  new  paths.  Baoh, 
Haydn,  Mozart  and  Beethoven  comprehend  everything  that  properly 
belon2:s  to  the  classic  in  music. 


List  of  Illustrations. 


1.  Allegro  from  Bach's  Italian  Concerto. 

2.  Passacaglia  in  C  minor  for  the  organ.    Bach.     (Arranged  for  4  hands  ow   the 

piano.     Peters'  Ed.  No.  224.) 

3.  Andante  from  5th  Quintette,  Mozart.     (4  hands.     Peters'  Ed.  No.  997.) 

4.  The  "Moonlight"  Sonata  of  Beethoven,  op.  27  No.  8. 

5.  Sonata  in  E  flat,  op.  ol  No.  3,  Beethoven. 

6.  Impromptu  in  B  tlat,  op,  142,  Schubert. 


Paut    Htxtti  . 


STUDIES  liN  THE  ROMANTIC. 


LESSON      THIRTY -FIRST. 

THE    CHIVALROUS. 

"The  chief  content  of  Chivahy,"  says  Hegel,  "  may  be  expressed 
as  Honor^  Love,  and  FideMty.''''  The  idea  of  chivahy  carries  with  it  the 
heroic,  the  tender,  the  graceful  and  considerate,  and  above  all  the  noble 
and  dignified,  or,  as  Southerners  say,  "  the  high-toned."  This  phase 
of  musical  expression  finds  its  most  congenial  expression  in  the  works 
of  Chopin,  especially  in  the  Polonaises.  Yet  the  polonaise  exj^resses 
these  graces  in  many  instances  with  a  certain  qualification.  The  Chopin 
polonaise  not  only  represents  the  phases  of  chivalry,  but  there  runs 
through  it  the  sad  and  almost  morbid  element  of  Polish  character,  as  if 
the  unfortunate  history  of  this  country  had  imparted  a  tinge  of  sadness 
even  to  its  moments  of  victory.  Of  the  polonaise  in  general,  Liszt 
writes  : 

"  While  listening  to  some  of  the  polonaises  of  Chopin,  we  can  al- 
most catch  the  firm,  nay,  the  more  than  firm,  the  heavy,  resolute  tread 
of  men  bravely  facing  all  the  bitter  injustice  which  the  most  cruel  and 
relentless  destiny  can  ofi"er,  with  the  manly  pride  of  unblenching  cour- 
age. 

"The  progress  of  the  music  suggests  to  our  imagination  such  mag- 
nificent groups  as  were  designed  by  Paul  Veronese,  robed  in  the  rich 
costume  of  days  long  past;  we  see  passing  at  intervals  before  us, 
brocades  of  gold,  velvets,  damasked  satins,  silvery,  soft  and  flexible 
sables,  hanging  sleeves  gracefully  thrown  back  upon  the  shoulders, 
embossed  sabres,  boots  yellow  as  gold  or  red  with  trampled  blood, 
sashes  with  long  and  undulating  fringes,  close  chemisettes,  rustling 
trains,  stomachers  embroidered  with  pearls,  head-dresses  glittering  with 

107 


108 


HOW  TO    UNDERSTAND   MUSIC. 


rubies  or  leafy  witli  emeralds,  light  slippers  rich  with  amber,  gloves 
perfumed  with  the  luxurious  attar  from  the  harems. 

"  From  the  faded  background  of  times  long  past  these  vivid  groups 
start  forth;  gorgeous  carpets  from  Persia  lie  n.t  their  feet,  filagreed  fur- 
niture from  Constantinople  stands  around;  all  is  marked  by  the  sump- 
tuous prodigality  of  the  magnates  who  drew,  in  ruby  goblets  embossed 
with  medallions,  wine  from  the  fountains  of  Tokay,  and  shod  their 
fleet  Arabian  steeds  with  silver  ;  who  surmounted  all  their  escutcheons 
with  the  same  crown  which  the  fate  of  an  election  might  render  a  royal 
one,  and  which,  causing  them  to  despise  all  other  titles,  was  alone  worn 
as  hisigne  of  their  glorious  equality.'" 

Thus  in  the  Military  Polonaise  of  Chopin,  already  heard  several 
times  in  the  course  of  these  studies,  we  have  the  martial  element 
strongly  brought  out.  This  runs  through  the  whole  piece.  In  form 
this  polonaise  is  of  the  simple  binary  order.  The  second  leading  sub- 
ject beginning: 


Ex.  28. 


is  of  the  nature  of  a  "  trio."  Yet  in  this,  where  if  anywhere  we  would 
look  for  the  expression  of  tenderness,  the  military  ardor  glows  still 
unquenched.  After  one  strain  of  this  we  encounter  a  different  spirit. 
What  is  it?  (Plays  the  middle  strain  of  trio  beginning  with  the  trill 
on  C  sharp  in  the  bass.)  This  is  In  eflfect  a  salute.  It  is  as  if  we  had 
been  witnessing  a  grand  review.  Here  the  general  and  his  staff  ride 
down  the  line,  and  we  hear  the  salute  of  honor,  the  roll  of  musketry, 
the  blare  of  the  trumpets,  and  see  the  waving  of  the  colors. 

On  the  other  hand  let  us  examine  a  work  in  which  tiiere  is  much 
greater  diversity  of  momentary  expression,  and  consequently  much  less 
coherence. 

Observe,  now,  the  following:  (Plays  the  first  twelve  measures 
of  Polonaise  in  C  sharp  minor,  op.  26.)  Here  the  first  four 
measures  have  the  force  of  a  full  period;  they  start  off  splendidly,  with 
the  greatest  determination  and  courao;e.  In  the  next  eio-ht  measures 
tliis  courage  still  exists,  it  is  true,  but  with  it  a  vein  of  weakness  be- 
comes apparent.  (Plays  this  plu^ase;  and  then  repeats  the  entire 
period.) 

At  the  twentv-fifth  measure  a  new  fio-ure  meets  us,  not  referable 
to  any  warlike  spirit  as  such.  It  more  reminds  one  of  Liszt's  descrip- 
tion of  the  complicated  figures  and  constantly   fresh    inventions    intro- 


THE   CHIVALROUS.  109 

duced  into  the  Polish  dance.  (Plays  seven  measures.)  At  the  tenth 
measure  of  this  part  the  cliivalrous  spirit  reappears.  (Plays  to  the  end 
of  this  part;  i.  e.,  to  the  signature  of  live  fl.its.) 

Here  enters  an  entirely  new  spirit.  Our  valiant  soldier  has  be- 
come entangled  in  the  snares  of  love.  Yet  note  how  tender  his  devo- 
tion. With  what  subtle  nobility  of  tenderness  he  breathes  his  love. 
(Plays  sixteen  measures  of  this  part.)  Here  at  the  seventeenth  meas- 
ure a  different  spirit  enters.  It  seems  a  conflict,  a  dialogue.  Above 
we  hear  the  woman's  voice,  gentle,  persistent,  tender;  below  the  man's, 
more  importunate,  not  so  reserved  and  regular.  The  denouement  each 
hearer  may  imagine  for  himself.  When  tliis  little  conflict  is  over  we 
have  again  the  gentle  song  of  love  which  opened  this  part.  And  thus 
the  piece  ends.     (Plays.) 

Observe  again  the  entire  piece.  (Plays  the  whole  piece.)  It  con- 
sists, as  you  perceive,  of  two  equal  parts  or  pictures,  diff"erent  sides  of  the 
same  nature.  The  first  martial  and  ardent;  the  second  tender  and 
pleading.  The  work  has  no  unity  except  in  so  far  as  the  uniform  rhyth- 
mic pulsation  throughout  the  piece  enables  us  to  recognize,  underneath 
all  those  moods,  the  beatings  of  the  same  hearts. 

Here,  again,  and  in  order  to  study  the  polonaise  from  a  different 
stand-point,  observe  the  following:  (Plays  Polacca  Brilliant  in  E,  op. 
72,  Von  Weber.)  This,  as  you  perceive,  is  a  melodious  and  poetic 
piece,  but  it  lacks  the  nameless  grace  and  charm  of  the  Chopin  works, 
though  to  very  many,  and  perhaps  to  all,  there  is  something  extremely 
pleasing  in  its  freshness,  whicia  has  nothing  in  it  of  a  morbid  char- 
acter. 

Again,  observe  this  little  polonaise  of  Schumann's:  (Plays  the 
polonaise  in  D,  out  of  the  pajoillons,  op.  2.) 

In  order  to  understand  this  phase  of  music  fully  we  need  to  ex- 
amine three  more  vorki.  The  first  is  the  Chopin  polonaise  in  A  flat, 
op.  53.  This  is  in  the  grand  style.  Observe  the  Introduction.  (Plays 
sixteen  measures.)  See  how  strong  and  resistless  the  impulse!  Then 
enters  the  theme.  (Plays  from  seventeenth  measure  to  the  end  of  this 
part',  through  forty-eighth  measure.)  Here  at  the  forty-iiinlh  measure 
there  enters  one  of  those  capricious  figures  referred  to  by  Liszt. 
Evidently  it  is  of  a  grandiose  and  somewhat  startling  character;  it  is 
repeated  with  emphasis  (represented  by  the  transposition  to  a  higher 
degree).  At  the  fifty-seventh  measure  a  grand  and  dignified  melody 
begins,  whicli  presently  brings  us  again  to  the  theme.  (Plays  four 
measures  and  four  measures;  and  then  this  melody;  then  the  theme 
and  so  on  through  the  Principal  to  the  change  of  signature.) 


no  HOW  TO   UNDERSTAND  MUSIC. 

Here  at  the  change  of  key  a  new  caprice  presents  itself.  In  the 
treble  we  have  a  very  quiet  melody;  under  it  in  the  bass  a  monotonous 
octave  figure  repeated  over  and  over  many  times,  at  first  very  softly, 
then  by  degrees  louder.  It  expands  and  expands  until  it  fills  the  whole 
field  of  observation;  then  it  subsides  only  to  mount  up  once  more. 
(Plays  through  the  passage  containing  bass  running  passage  in  octaves.) 
At  the  end  of  the  octaves  there  enters  a  gentle  figure  in  G  major, 
afterwards  transposed  to  A  flat,  and  this,  after  some  time,  leads  again 
to  the  principal,  and  so  to  the  close.  (Plays  last  part  of  piece.)  Ob- 
serve now  the  whole  work.  (Plays  the  entire  polonaise.)  This  piece, 
in  spite  of  a  considerable  degree  of  contrast  between  the  various  strains, 
is  essentially  of  one  spirit,  and  that  of  an  extremely  heroic,  dignified, 
and  noble  character. 

Another  work  of  this  class  and  remarkable  for  still  greater  con- 
trasts, though,  as  a  whole  pervaded  by  a  more  refined  (and  possibl}' 
effeminate)  spirit,  is  the  Chopin  ])oIonaise  in  E  flat,  op.  22.  This  work 
is  preceded  by  a  charming  A7idante  Spianato,  which  belongs  to  the 
tender  side  of  emotion.  The  polonaise  enters  thus:  (Plays.)  In  the 
sixtieth  measure  of  the  polonaise  proper  (not  counting  the  orchestral 
tuttl  intervening  between  the  andante  and  the  polonaise)  a  series  of 
strong  contrasts  begins.  Here  we  have  two  lines  of  extremely  bold 
octaves  in  both  hands.  (Plays.)  In  the  sixty-seventh  measure  a  soft 
and  delicate  melody  enters,  concluding  with  some  delicate  cadencing, 
in  the  sixty-rtinth,  etc.  (Plays.)  In  the  seventy-third  measure  a  bold 
and  fiery  passage  bursts  in,  closing  with  an  octave  passage.  (Plays.) 
In  the  eighty-third  measure  a  lovely  melody  in  C  minor  begins.  (Plays.) 
But  enough.  Suffice  it  to  say  that  in  this  piece  we  have  almost  every 
phase  of  the  Chopin  nature  represented,  and  it  is  rightly  counted  for 
one  of  his  most  exquisite  works. 

Still  another  and  more  sensational   work  of   this  school  is  Liszt's 

Polonaise  in  E.     This  great  work  (one  of  the  best  of  Liszt's)  contains 

very  few  of  the  refinements  we  have  seen  so  abundant  in  the  work  last 

considered.    Nay,  it  is  even  less  so  than  the  heroic  polonaise  in  A  flat. 

Yet  it  is  a  concert-piece  of  the  same  general  type,  and  as  such  deserves 

to   be    carefully    heard.     The    finest    work'  in    it   is    in    the   Cadenza. 

(Plays.) 

List  of  Illustrations. 

1.  Chopin's  Polonaise  Militaire,  op.  40,  No.  1. 

2.  Chopin's  Polonaise  in  C  sharp  minor,  op.  26,  No.  1. 

3.  Polacca  Brilliante  in  E,  Weber,  op.  72. 

4.  Schumann's  Polonaise  in  D  (out  of  Papillons,  op.  2). 

5.  Chopin  Polonaise  in  A  flat,  op.  53. 

6.  Chopin's  Andante  and  Polonaise  in  E  flat,  op.  2^ 

7.  Liszt's  Polonaise  Heroique  in  E. 


THE  GENTLE  AND  SENTIMENTAL;  THE  DEEPLY  TENDER.   m 


LESSON  THIRTY- SECOND. 

THE  GENTLE  AND  SENTIMENTAL;  THE  DEEPLY  TENDER. 

The  earliest  consistent  examples  of  this  kind  of  spirit  worked  out 
in  pianoforte  music  in  simple  forms,  are  to  be  found  in  some  of  the 
Haydn  adagios  and  andantes,  and  the  Field  nocturnes,  the  latter  most 
particularly.  Field  very  probably  derived  more  or  less  suggestion  from 
the  slow  movements  in  Beethoven  sonatas,  all  of  which,  as  far  as 
the  "Waldstein"  appassionata  and  "Kreutzer"  sonatas,  were  published 
before  the  Field  nocturnes.  In  many  of  the  earlier  sonatas  of  Bee- 
thoven we  find  short  passages  in  the  genuine  nocturne  vein;  as,  e.  g.,  in 
the- Adagio  of  sonata  pathetique,  the  Menuet  in  the  sonata  in  E  flat, 
op.  31,  etc.  To  Field,  however,  is  due  the  credit  of  having  established 
the  form  of  the  nocturne  as  an  independent  piece  for  piano,  in  a  ten- 
der, elegiac  vein,  and,  both  in  point  of  difficulty  and  emotional  range, 
keeping  it  within  the  resources  of  amateurs  generally.  Here,  e.  f/.,  is 
such  a  piece.  (Plays  Field's  nocturne  in  B  flat.)  This  piece,  like  all  of 
Field's,  is  characterized  by  an  extremely  clear  and  limpid  style,  and  a 
truly  refined  and  delicate  spirit. 

Field  was  not  insensible  to  the  advantages  of  contrast,  as  we  see 
in  the  following,  where  the  second  subject  makes  an  admirable  con- 
trast with  the  first.     (Plays  Field's  nocturne  in  D,  No.  13.) 

Mendelssohn,  however,  is  the  magician  who  first  made  known  to 
amateurs  generally  the  latent  singing  powers  of  the  pianoforte.  This 
he  did  in  his  famous  works,  the  "  Songs  Without  Words."  No  doubt 
the  fortunate  selection  of  title  had  much  to  do  with  their  immediate 
popularity,  which  was  very  great,  and  has  in  fact  continued  ever  since. 

The  first  book  of  these  beautiful  works  was  published  in  18?9 
and  contained  six  pieces,  in  which  the  MendelssohniaTi  spirit  is  unmis- 
takable. In  the  first  we  have  a  tender  melody  and  a  gentle  and 
well-blended  accompaniment,  which,  when  well  played,  is  truly  charm- 
ing. (Plays.)  In  the  second  we  have  a  vein  of  sadness  or  melancholy,  as 
well  as  the  usual  tenderness.  (Plays.)  The"  third  is  the  well-known 
"Hunting  Song,"  which  may  well  enough  be  heard  here  for  the  sake  of 
the  contrast.  (Plays  No.  3.)  No.  6  is  a  Venetian    Gondallied  in  which 


113  HOW  TO  UNDERSTAND   MUSIC. 

one  plainly  hears  the  melancholy  and  passion  of  a  decayed  and  fading 
race.  (Plays.)  Whatever  meaning  we  may  be  led  by  their  fanciful 
titles  to  attach  to  these  pieces,  they  all  speak  unmistakably  the  voice  of 
tenderness  and  sadness.  Whenever  we  are  in  any  similar  mood  these 
pieces  chime  in  with  our  feelings,  and  utter  the  very  tones  we  would 
ourselves  have  originated.  This  is  the  quality  of  popularity:  to  seem 
to  say  what  every  reader  would  himself  have  said  (if  only  he  had 
thought  to  do  it).  And  this  quality  the  Mendelssohn  songs  possess 
in  the  most  eminent  degree.  Another  example  of  the  same  spirit  we 
have  in  the  lovely  Duetto  in  A  flat,  No.  18,  which  may  be  heard  again 
if  desired.  (Let  it  be  played  if  it  is  not  clearly  remembered  from  for- 
mer citations.) 

Chopin-  took  up  the  nocturne  form  as  Field  left  it,  and  imparted 
to  it  a  greater  depth  and  range  of  meaning.  One  of  the  simplest 
types  of  his  is  the  second  one,  the  lovely  nocturne  in  E  flat,  op.  9, 
No.  2.  This  consists  of  a  gentle  melody  and  a  delicate  accompaniment 
of  chords.  It  is  extremely  unpretending,  yet  it  is  one  of  the  most 
perfect  gems  in  this  department  of  composition.   (Plays.) 

Here,  in  the  4th  nocturne,  he  avails  himself  of  a  stronger  contrast. 
(Plays  nocturne  in  F,  op.  15,  No.  1.) 

Another  of  the  singing  nocturnes  of  Chopin  is  that  in  B  maj.,  op. 
32,  No.  1.  (Plays.) 

In  the  13th  nocturne  there  is  a  deeper  meaning.  It  tells  of  greater 
depths  of  passion,  and  has  stronger  contrasts  than  those  already 
heard.  (Plays  the  nocturne  in  C  minor,  op.  48,  No.  1.) 

Two  of  the  most  admired  of  these  works  are  those  in  G,  op.  37. 
No.  1  in  G  minor  is  an  elegy  full  of  sadness  and  longing.  It  is  relieved 
by  an  episode  of  pure  uninverted  triads,  like  a  church  piece.  In 
this  we  have  portrayed  a  deep  and  spiritual  peace.    (Plays.) 

The  second  one,  in  G  maj.,  is  of  a  much  more  genial  and  cheer- 
ful character,  delicate  and  tender.  Owing  to  the  preponderance  of 
thirds  and  sixths  it  is  extremely  difficult  to  play  well.  (Plays.) 

List  of  Illustrations. 

1.  Nocturne  in  Bb,  Field. 

3.  Nocturne  in  D,  No.  13,  Field. 

3.  Nos.  1,  2,  3,  6  and  18  of  Songs  without  Words,  Mendelssohn. 

4.  Nocturne  in  E6,  op.  9,  Chopin. 

5.  Nocturne  in  F,  op.  15,  Chopin. 

6.  Nocturnes  in  B,  op.  32;  C  min.,  op.  48;  and  G,  op.  37,  Chopin. 


THE   HUMORISTIC  AND   THE   PASSIONATE.  113 


LESSON     THIRTY -THIKD. 

THE    HUMORISTIC   AND    THE    PASSIONATE. 

By  the  name  Humor  tlie  Germans  denote  caprices,  whims,  moods, 
chano^e  :  and  not  the  ludicrous,  as  in  later  Eno-Hsh  usaije.  Tliere  is  one 
side  of  the  modern  romantic  school  which  can  be  appropriately  named 
by  no  other  term  than  humoristic.  This  is  nearly  tlie  same  as  whim- 
sical, the  difference  being  that  the  latter  term  has  acquired  an  objection- 
able meaning',  like  the  "foolishly  humoristic"  or  the  "unreasonably 
humoristic."  This  element  of  musical  expression  frequently  exceeds 
the  bounds  of  beauty,  and  is  indeed  allied  to  realism,  since  realism  in 
music  is  in  fact  nothing  but  musical  expression  made  subservient  to  a 
strictly  literal  representation  of  natural  sounds  or  common-place  sen- 
sations. Humor  in  music  frequently  approaches  the  grotesque.  •  The 
great  exponent  of  this  school  is  Schumann,  whose  fancy  ran  wild  in 
every  direction,  and  only  in  exceptional  cases  controlled  itself  accord- 
inor  to  the  moderate  and  decorous. 

Here,  for  example,  are  three  little  pieces  from  the  Kinderscenen. 
(Plays  successively,  "From  Strange  Lands,"  "A  Curious  Story,"  and 
"Playing  Tag,"  the  first  three  pieces  in  the  "Scenes  from  Childhood.") 
These  little  pieces,  as  you  observe,  are  entirely  unlike  each  other,  and 
each  one  is  complete  in  itself.  Tiie  first  a  graceful  little  melody.  The 
second  a  bright  and  rather  sprightly  and  forcible  little  piece  in  march 
time.  The  third  a  sort  of  presto  with  very  strong  accents.  It  would 
be  a  very  superior  sort  of  clairvoyance  in  any  one  who  should  be  able 
to  guess  the  names  of  these  pieces  from  hearing  them  played.  Yet  the 
names  give  a  very  decided  assistance  toward  divining  the  author's 
meaning.  Observe  now  the  following:  (Plays  No.  5,  "Happy  Enough," 
No.  7,  "Traumerei,"  and  "Frightening,"  No.  li.)  Among  larger 
pieces  of  the  humoristic  type  are  to  be  mentioned  the  Schumann  Plian- 
tasiestiicke,  op.  12.  Tt  is  of  the  first  of  these  that  Franz  Brendel  re- 
marks: "It  brings  us  blessed  enjoyment,  vernal  airs,  and  flowery  sa- 
vors." (Plays  "In  the  Evening.")  This  dreamy  nocturne  is  followed 
by  a  powerfully  excited  piece  called  '■'■Aufschwung,''''  "Soaring,"  a  name 
intended  to  convey  the  idea  of  such  a  mental  state  as  one  falls  into  in 
8 


]U 


now  TO    UNDERSTAND   MUSIC. 


wakeful  hours  of  night,  especially  after  taking  too  strong  tea,  or  a  light 
opiate.  Then  the  brain  is  preternaturally  active,  nothing  seems  im- 
possible; the  most  brilliant  conceptions  throng  the  mind,  one  visits 
strange  lands,  rises  into  unknown  regions,  solves  impossible  problems. 
The  sober  light  of  day  dissolves  all  these  visions,  but  while  they  last 
the\;  carry  the  bewildered  visionary  captive  at  their  will.  Such  a  piece 
is  this:  (Plays  "Soaring.")  Tlien  follows  a  sort  of  musical  conundrum, 
"  TFarwm,"  "Why."  It  consists  of  a  single  motive  many  times  slowlv 
repeated,  accompanied  by  a  restless  accompaniment  of  chords  entering 
on  the  half-beat.  (Plays  VTcirian.)  Then  follows  yet  a  different  strain, 
called  "Whims,"  of  which  we  need  no  further  explanation  than  the 
title.     (Plays  Grilles.) 

In  all  these  pieces  we  ]:)lainly  see  that  the  beautiful,  as  such,  is  not 
sought  by  the  composer.  They  afford  neither  the  sensuous  charm  of 
delicately-balanced  phrases,  sweetly-modulating  chords,  or  any  other 
mere  gratification  of  a  love  for  the  well-sounding.  Quite  as  little  do 
they  afford  satisfaction  in  contemplation.  Formal  beauty  they  do  not 
possess.  Their  distinctive  merits  are  two:  First,  their  coherence  as 
music.  Here  comes  along  anew  composer,  Schumann,  a  hundred  years 
later  than  Bach,  and  develops  musical  ideas  in  ways  that  are  musically 
right  and  proper,  and  yet  new.  And,  second,  these  humoristic  pieces 
carry  us  along  with  them,  move  us,  excite  us,  as  the  Bach  pieces  do 
not.  You  may  pronounce  them  unbeautiful  if  you  please,  but  they  are 
musically  right  and  genuinely  expressive. 

There  is  also  a  darker  side  of  the  picture.  Observe  now  this: 
(Plays  Schumann's  "In  the  Night.")  It  is  of  this  piece  that  Franz  Bren- 
del  says:  "  It  is  a  powerful  night-piece,  hobgoblin-filled,  awful  pictures, 
anxious  waking-dreams;  a  state  of  soul  the  opposite  of  the  'Evening' 
formerly  mentioned."  This  vein  is  not  uncommon  in  Schumann,  es- 
peciallv  in  his  later  years.  It  also  appears  in  Chopin  as  the  first  part 
of  the  first  movement  of  the  sonata  in  B  flat  minor,  op.  35,  and  in  many 
other  places.  So  also  many  of  the  Beethoven  pieces  must  have  sounded 
in  this  vein  when  they  were  new,  before  the  listener's  ears  had  be- 
come accustomed  to  the  rapid  modulations  of  these  pieces  and  their 
restlessness.  This  spirit  is  also  to  be  met  with  in  Bach,  as  in  the  great 
organ  prelude  in  A  minor,  and  in  many  other  pieces.  This  prelude, 
for  example,  seems  to  aim  at  representing  a  tossed  and  troubled  spirit, 
like  the  waves  of  the  sea.  Neither  the  tuneful  as  such,  nor  still  less 
the  reposeful,  could  have  been  intended.  They  cannot  be  called  beau- 
tiful since  they  are  neither  pleasing  to  hear,  satisfactory  to  continually 
meditate  upon,  nor  inspiring  except  as  they  widen  the  range  of  musical 


THE   FANCIFUL  AND   PLEASING.  11,5 

expression  and  serve  for  contrast,  thereby  heightening'  the  beauty  of 
other  movements  with  whicli  they  are  associated.  Tliis  use,  liowever, 
was  not  intended  either  by  Bach  or  Schumann.  The  former  wrote  them 
for  the  purpose  of  expressing  himself  in  this  direction,  which  he  saw  to 
be  legitimate  and  possible;  Schumann,  to  satisfy  his  musical  instincts 
in  the  same  way,  and  also  to  gratify  morbid  moods. 

List  of  Illustrations. 

1.  Schumann's  Kinderscenen  (Scenes  from  Childhood)  op.  15.  Nos  1,  2,  3,  5,  7,  IL 
3.  Schumann's  "  In  the  Evening,"  No.  1  in  op.  12. 

3.  AvfscJiwung,  or  "  Soaring,"  No.  2  in  the  same. 

4.  TTarwrn,  "  Why  ?"  the  same. 

5.  Grillen,  "  Whims,"  from  the  same. 

6.  "  In  the  Night,"  No.  5  in  the  same. 

7.  First  part  of  Allegro  in  Chopin  Sonata,  op.  35, 

8.  Great  Organ  Prelude  in  A  minor.     ("V  ol.  II.  Bach's  Organ  Works,  Peters'  Ed.) 


LESSON     THIRTY-FOURTH. 

THE  FANCIFUL  AND  PLEASING. 

Pieces  of  this  class  represent  the  lighter  sentiments  of  social  life, 
especially  of  polite  society.  We  find  in  them  symmetrical  and  grace- 
ful forms,  permeated  by  a  bright  and  pleasing  spirit.  They  are  re- 
fined and  true,  but  they  do  not  express  the  heroic  or  despairing 
moments  of  the  soul.  In  consequence  of  their  representing  so  com- 
pletely the  spirit  of  social  life,  they  are  eminently  suitable  for  parlor 
performance.  ■  Observe  this  elegant  waltz.  (Plays  Chopin's  waltz  in  A 
flat,  op.  34,  No.  1.)  This  is  the  very  spirit  of  the  world  and  of  society. 
Another  example  of  the  same  kind  is  Rubinstein's  Valse  Caprice  in 
E  flat.  (Plays.)  Still  another,  and  a  famous  one,  too,  is  "Weber's 
"  Invitation  to  the  Dance."  (Plays.)  This  latter  is  more  perfectly  ideal- 
ized than  either  of  the  preceding.  The  introduction  is  moderate  and 
meditative,  as  if  undecided  whether  to  dance  or  not.  Fanciful  people 
have  imagined  that  they  saw  in  it  the  advance  of  the  gentleman  and 
his  address  to  the  lady,  her  acceptance,  their  quiet  and  fragmentary 
talk  in  the  moment  before  the  dance  actually  begins.  Then  the  dance 
itself.  At  the  close  he  re-conducts  the  lady  gracefully  to  her  seat,  in 
the  fiirure  of  the  introduction. 


116 


HOW  TO   UNDERSTAND   MUSIC. 


Another  example  of  similar  spirit  is  the  elegant  Chopin  Rondo  in 
E  flat,  op.  16,  which,  though  long  and  difficult,  is  conceived  in  the  spirit 
of  play,  and  represents  the  .light  and  worldly  side  of  feeling,  yet  with  true 
refinement  and  earnestness.  (Plays.)  Were  we  to  go  further  in  this 
field  we  might  bring  forward  the  elegant  Scherzo  in  B  flat  minor,  op. 
31,  a  very  beautiful  and  poetic  piece,  which  contains,  perhaps,  rather 
more  of  meaning  than  this  list  properly  includes. 

This  field  is  practically  illimitable.  It  includes  all  the  lighter 
works  of  the  greatest  composers,  except  Schumann,  who  has  left  nothing 
properly  belonging  to  it,  and  almost  the  entire  production  of  very 
many  smaller  writers,  such  as  Schulhoflf,  Jaell,Hunten,  Leybach,  Gotts- 
chalk,  etc.,  etc. 

Pieces  of  this  class  should  be  elegantly  written  and  agreeably 
sounding.  In  the  nature  of  the  case  they  are  perfectly  easy  to  under- 
stand, for  which  reason  we  do  not  dwell  upon  them,  but  content  our- 
selves with  simply  calling  attention  to  them. 

List  of  iLLUSXRAXioifs. 

1.  Chopin's  Valse  in  A  flat,  op.  34,  No.  2. 

2.  Rubinstein's  Valse  Caprice  in  E  flat. 

3.  Weber's  Invitation  to  tlie  Dance. 

4.  Chopin's  Introduction  and  Rondo  in  E  flat,  op.  16. 

5.  Chopin's  Scherzo  in  Bflat  minor,  op.  31. 
G.  Mill's  1st  Tarantelle. 

7.  Rafl^s  Valse  Impromptu  in  B  flat,  op.  94. 


LESSON   THIRTY  -  FIFTH. 


THE    SENSATIONAL   AND    THE   ASTONISHING. 


In  ordinary  English  usage,  the  term  Romantic  implies  something 
"  striking,"  "  characterized  by  strong  contrasts,"  "  sensational,"  etc. 
Our  studies  thus  far  in  this  school  of  music  are  sufficient  to  show  us  the 
propriety  of  its  name.  In  the  previous  lessons  we  have,  indeed,  come 
ujDon  only  the  more  reasonable  and  justifiable  features  of  the  romantic, 
in  which  the  beautiful  in  some  sense  is  the  supreme  object.  Recent 
music,  however,  and  particularly  pianoforte  music,  contains  many  pro- 
ductions in  which  the  sensational  and  the  astonishing  are  the  ends 
sought.     Of  this  kind    are    concert   pieces   in    general,  especially    the 


THE   SENSATIONAL   AND   THE   ASTONISHING.  II7 

earlier  works  of  Liszt,  and  most  of  the  productions  of  other  virtuoso 
l)layers.  Such,  also,  are  very  many  orchestral  works,  especially  some 
of  Berlioz,  Saint-Saens,  Wagner's  "  Ride  of  the  Valkyrie,"  etc. 

In  making  the  sensational  their  object,  all  of  these  exceed  the 
bounds  of  the  beautiful,  and  are  of  real  use  in  art  only  in  so  far  as  they 
break  new  paths  of  technical  accomplishment,  and  thereby  provide 
means  of  expression  which  ma}-  afterwards  be  employed  in  artistic 
creation.  In  this  way  all  great  virtuosi  have  illustrated  the  capacity  of 
their  instruments,  and  in  their  works  have  provided  useful  studies  for 
the  mastery  of  j^eculiar  difficulties.  Of  this  kind,  for  examj^le,  are  the 
Caprices  of  Paganini,  which,  while  containing  many  musical  and  beauti- 
ful passages,  are  in  general  rather  extravagant,  and  almost  entirely 
wanting  in  symmetry  and  repose.  They  reseml^le  tropical  vegetation 
where  in  a  humid  soil  and  a  dank  atmos2:)here  the  most  extravagant  and 
fantastic  growths  are  seen,  luxuriant  and  beautiful  in  abounding 
vitality,  yet  oppressive  to  the  senses. 

In  all  these  productions,  moreover,  there  is  a  certain  charm  wliicli 
recommends  them  to  the  player.  It  is  not  unlike  what  Ruskin  calls 
"  vital  beauty,  or  the  appearance  of  felicitous  fullillment  of  function  in 
living  creatures;"  in  other  words,  their  remarkable  adaptation  to  the 
instrument  for  which  they  were  composed.  The  study  of  them  has 
particular  value  in  affording  a  free  and  dashing  mode  of  playing. 

The  sensational  in  piano  music  dates  from  the  discovery  of  the 
diminished  seventh  and  its  chromatic  susceptibility.  Thus  in  many  of 
the  earlier  Liszt  joieces  there  are  passages  which  are  neither  pretty  nor 
expressive,  but  which  are  merely  noise.  This  kind  we  have  illustrated 
in  the  "  Lucia,"  for  instance,  and  in  the  Rigoletto  chromatic  cadenza, 
described  in  Lesson  XIX, 

Another  example  is  found  in  the  cadenza  near  the  close  in  Raff's 
Polka  de  la  Reine.  (Plays  cadenza  of  diminished  sevenths  in  the  bass, 
and  the  ascending  passages  belonging  to  them;  afterwards  the  entire 
piece.) 

Of  this  kind  are  the  cadenzas  in  the  Chopin  concerto,  referred  to 
in  Lesson  XIX.  (Play  if  convenient.)  In  the  Liszt  concerto  in  E 
flat,  we  have  many  examples  of  this  kind  of  work,  put  together  much 
more  loosely.     (Play,  if  convenient.) 

It  cannot  be  denied  that  there  is  somethins:  satisfactorv  in  the 
way  in  which  these  effects  are  planned.  Thus  in  Liszt's  "Rigoletto'* 
fantasia  we  have  opening  passages  which  although  l)rilliant  and  pleas- 
ing are  not  very  difficult.  Then  follows  the  pretty  melody,  and.  after 
the  striking  secpience  of  chromatic   modulations,   the  cadenza   already 


118  HOW  TO   UNDERSTAND   MUSIC. 

described  comes  in.  The  work  then  resumes  the  melody  pianissitno, 
with  very  delicate  and  pretty  runs,  rising  occasionally  to  ^fortissimo. 
Still  the  general  build  of  these  three  pages  is  the  jncoiissi mo.  At  the  close 
of  this  pai't  there  is  a  cadenza  which  is  of  extremely  simple  construc- 
tion, but  when  well  done  is  even  more  showy  than  that  at  the  e>jd  of  the 
first  part.  This,  in  turn,  is  followed  by  the  octave  finale,  at  first  softly, 
but  at  the  close  working  up  to  a  brilliant  and  astonishing  effect.  The 
success  of  the  piece  lies  in  the  care  with  which  the  brilliant  passages 
are  preceded  with  those  of  a  soft  and  pleasing  character,  and  this  must 
be  observed  by  the  performer  who  expects  to  make  a  success  with  it. 

This  reserve — these  long  passages  of  really  musical  writing  leading 
to  astonishing  and  sensational  passages,  are  the  saving  elements  in 
bravoura  pieces.  The  Liszt  concerto  is  an  extremely  fragmentary 
work.  It  is  written  on  a  plan,  and  very  cleverly  too;  but  its  primary 
elements  are  few,  and  it  entirely  lacks  the  artistic  coherence  and  re- 
pose of  such  work  as  that  in  Chopin's  concerto  in  E  minor  or  in  F 
minor.  All  of  the  Liszt  bravoura  pieces  are  written  on  the  same  plan, 
the  climaxes  being  of  occasional  occurrence  and  carefully  foreseen. 
Thus  the  well-known  "Tannhauser  March"  opens  brilliantly  with 
the  trumpet  call,  but  presently  subsides  into  a  very  reasonable  and 
agreeably  sustained  presentation  of  the  chorus.  Gradually,  however, 
the  movement  becomes  more  and  more  elaborate,  and  at  last  reaches 
an  imposing  effect. 

All  this  modern  virtuoso  bravoura  rests  upon  the  idea  of  astonish- 
ing by  mere  sensation,  and  therein  stands  upon  a  lower  plane  than  the 
cadenza  formations  of  the  older  musicians.  Bach,  Handel,  Beethoven 
and  Mendelssohn,  all  were  great  performers  who  could  entertain  the 
most  cultivated  audiences  by  their  masterly  improvisations.  But  in 
their  cadenzas  they  made  their  effect  by  the  musicianship  with  which 
they  elaborated  and  handled  their  themes,  and  not  with  any  merely 
vulgar  scrambling  about  the  keyboard  in  apparently  impossible  pas- 
sages. 

Nevertheless  the  ways  of  Nature  are  not  so  crude  after  all;  for 
every  creature  has  its  natural  enemy  which  acts  as  a  check  upon  its 
undue  multiplication.  So  here,  this  sensationalism  finally  reaches 
bounds.  Such  a  passage  of  sevenths  as  that  of  Raff''s,  already  referred 
to,  is  the  limit.  This  is  mere  noise,  and  just  as  bad  and  astonishing 
as  any  other  hideous  succession  of  chords  played  fortissimo  on  the  bass 
of  the  pianofortet  So,  also,  Liszt  in  one  piece  and  another  covered  the 
^possibilities  of  radically  diff'erent  passages  which  would  at  the  same 
time  be  playable,  and    therein   effective.     Hence   in  the  later  period 


THE   SENSATIONAL  AND  THE   ASTONISHING.  JI9 

of  his  creative  activity  he  gave  over  the  piano  as  a  hravoura  instru- 
ment, and  applied  his  powers  to  the  reproduction  of  pieces  of  every 
kirld  npon  it,  which  had  hitherto  hecn  supposed  impossible.  And  in 
tliese,  although  a  great  technique  and  abounding  courage  are  presup- 
posed for  the  player,  the  emphasis  is  put  on  musical  declamation  and 
the  imitation  of  orchestral  effects,  or  at  least  their  substitution  In- 
pianoforte  equivalents  (as  in  engraving  such  and  such  lines  represent 
one  color,  and  such  and  such  another,  though  all  in  tlie  engraving  are 
in  black  and  white).  In  this,  wliile  he  by  no  means  rises  into  the  plane 
of  original  creation,  he  certainly  entitles  himself  to  respect  by  employ- 
ing his  powers  for  worthy  uses.  Three  remarkable  examples  of  this 
kind  are  afforded  by  Liszt's  transcriptions  of  the  Wagner  "Spinnlied,"' 
"Isolde's  Liebes  Tod,"  and  "Lohengrin's  Verweis  an  Elsa."  Another 
fine  example  is  in  Billow's  excessively  difficult  transcription  of  Wag- 
ner's "Faust  Overture."  These  observations  hold  true  of  other  vir- 
tuoso work  since  Liszt,  such  as  the  concert  pieces  of  Tausig,  Saint- 
Saens,  etc. 

It  should  be  said  of  these  experiments  in  the  sensational  tliat,  like 
most  of  the  prominent  features  of  the  romantic  school,  they  have  found 
their  inciting  cause  in  poetry,  or  the  effort  to  represent  by  means  of 
music  something  which,  ])roperly  speaking,  is  neither  in  :nusic  nor  in 
any  strict  and  proper  sense  representable  by  it.  This  has  already  been 
suggested  in  the  lesson  on  descriptive  music,  and  comes  more  plainly 
in  review  in  the  next  following  discussion  of  Songs. 

List  of  Illustrations. 

1.  Li?zl's"Rigoletto." 

2.  Raff's  "  Polkii  de  Ic  Reiuc/ 

3.  Chopin  Coucorto  in  E  minor,  op.  11. 

4.  Liszt's  Concerto  in  E  flat. 

.■).  Liszt's  "Tannbauser  March." 


Paet  Seyentii. 


STUDIES    IN    SONG. 


LESSON     THIRTY-SIX. 


THE  INFLUENCE  OF  POETRY  UPON  MUSIC. 


Modern  music  owes  its  development  to  the  co-working  of  three  in- 
fluences. The  first  of  these  is  tlie  better  comprehension  of  tlie  nature 
of  music  itself;  the  true  relations  of  tonality,  harmonic  progressions, 
melody,  and  form  to  each  other;  and  the  logical  metliods  of  handling 
musical  ideas  merely  as  music,  and  aside  from  a  definitely  chosen 
emotional  content  seeking  expression  through  them.  The  sedond 
operative  force  is  the  general  progress  in  art  concejotion,  and  especially 
the  overmastering  desire  of  the  Romantic  for  a  natural  and  valid  means 
of  expressing  feeling,  merely  as  such,  and  uncolored  with  conscious 
thought.  The  third  of  tliese  forces  is  the  influence  of  jioetry  upon 
music,  and  especially  of  the  desire  to  express,  by  means  of  music,  ideas 
not  properly  belonging  to  it,  but  suggested  to  it  by  poetry. 

These  three  have  operated  simultaneously  throughout  the  history 
of  music.  Yet  it  may  be  truly  said  that  the  first  of  them  came  soonest 
to  expression;  and  this  very  naturally.  For  in  the  earliest  times,  when 
the  development  of  nnisic  began,  its  relation  to  the  other  arts  was  not 
understood;  indeed  the  meaning  of  art  in  general  has  only  lately  begun 
to  be  fathomed.  So  the  musician  worked  b}'  himself  as  a  musician, 
seeking  to  comprehend  the  mysteries  of  this  new  form  of  art,  and  to 
reproduce  his  thoughts  in  it.  Outside  influences  were  not  wanting 
here,  particularly  that  of  the  church.  On  the  whole,  as  ali-eady  suggested 
in  Chapter  XXIil,  the  influence  of  religion  has  been  of  the  highest 
advantage  to  art  by  raising  and  purifying  its  ideal.  But  Religion  is 
one  thing,  and  the  Church  sometimes  anotlier.  And  so  while  Religion 
has  always  performed  this  service  to  art,  and   lias   further  extended  her 

120 


THE  INFLUENCE  OF  ruETKY  LPU.N  .M I  Sic.       i;)i 

inspiration  to  nuisic  in  particular,  in  the  ft)nn  of  sublime  hymns  and 
canticles  wliic-h  become  truly  complete  in  the  liturgv  only  when  music's 
voice  has  modulated  and  shaped  the  hallowed  utterance,  the  influence 
of"  the  Church  has  sometimes  tended  in  the  direction  of  mere  con- 
ventionality. They  have  it  for  a  proverb  in  Germany,  that  when  a 
composer  has  written  all  his  original  ideas,  he  can  then  compose  onlv 
cluircii  music.  And  so  the  truly  original  musicians  in  every  generation 
have  developed  and  matured  their  talents  in  purely  secular  fields,  and 
onlv  in  old  age  have  brought  a  single  wreath  (often  of  flowers  lunv 
precious!  and  gathered  in  fields,  how  far  away  !  )  and  laid  it  with  pal- 
sied but  reverent  hand  upon  the  altar.  So  did  Bach  in  his  Passion 
Music  and  his*  one  Mass;  so  also  did  Handel  with  his  immortal  "Mes- 
siah," a  work  in  which  we  hear  not  the  feeble  and  uncertain  accents  of 
age,  but  the  sweet  songs  of  hope  anil  trust,  as  if  the  old  comijoser  had 
tasted  before  time  the  fountain  of  eternal  yovith,  or  that,  like  the  servant 
of  the  prophet,  his  eyes  had  been  opened  so  that  he  saw  the  mountains 
full  of  the  chariots  of  the  Lord.  So  was  it  with  Mozart  in  his  Requiem; 
and  Beethoven  with  his  colossal  Mass  in  D  minor.  But  as  a  rule,  all 
the  composers,  who  gave  coherence  and  shape  t(j  music,  arrived  at  their 
results  by  working  in  purely  secular  fields,  where  the  swift-coming 
fancies  might  all  find  legitimate  utterance.  In  particular  the  com- 
posers who  wrote  music,  as  music  merely,  were  Bach,  Ilaydn,  and 
Beethoven;  and,  since  them,  Schumann  and  Chopin, though  the  latter  is 
rather  to  be  counted  for  a  worker  in  one  particular  ])rovin('e  of  music, 
the  pianoforte,  than  in  the  whole  field  of  absolute  and  independent 
music. 

The  influence  of  the  second  of  these  operative  forces  has  been 
silent  and  unconscious,  as  indeed,  inspiration  generally  is.  There  has 
never  been  an  authoritative  declaration  of  the  mc^aning  of  art,  least  of 
all  by  artists.  Each  man  has  builded,  moulded,  painted,  sung  oi'  pro- 
phesied as  the  inner  force'  imi^elled  him.  His  life  has  gone  into  his 
works.  "When  death  overtook  him  he  dropped  his  workman's  tools, 
and  sank  unconscious  into  the  bosom  of  mother  earth.  Sometimes, 
his  very  friends  have  not  taken  the  trouble  to  count  and  reckon  up  his 
effects,  and  only  the  tardy  justice  of  posterity  has  been  i\h\c  to  gather 
up  the  precious  tokens  and  place  them  in  the  pantlieon  of  ail.  So 
was  it  with  Bach,  and  Schubert;  and  so  almost  with  Schumann  and 
Berlioz. 

Yet  in  one  way  this  force  has  operated  upon  musical  development, 
and  that  in  great  power;  namely,  in  the  extinction  of  other  forms  of 
art,  leavino-  almost  the  wiiole  idealitv  of  several  generations  to  seek  e.\- 


122  now  TO   UNDERSTAND   MUSIC. 

pression  through  music.  This  comes  out  plainly  enough  in  the  dates. 
Michael  Angelo  and  Raj^hael  were  nearly  two  hundred  years  before 
Bach  and  Handel.  Dante  was  two  centuries  earlier  still.  Shakespeare 
was  a  hundred  years  earlier  than  Bach.  Thus  Bach,  Handel  and 
Beethoven  had  the  stage  to  themselves  for  a  century,  during  which 
there  was  no  absolutely  great  master  in  any  other  form  of  art.  In  this 
way  the  world  gained  leisure  to  attend  to  music  ;  and  so  it  has  been 
since,  for  during  the  last  century  there  has  never  been  a  genius  of  the 
highest  order  outside  of  music.  Thus,  what  music  could  do,  as  music, 
we  must  learn  for  the  most  part  in  the  works  of  Bach,  Haydn,  Mozart, 
Beethoven,  and  Schumann.  And  in  the  very  same  works,  also,  we 
must  measure  its  value  as  a  form  of  art  and  an  expression  of  the  ideal. 
And  this  has  been  our  labor  in  these  studies  hitherto.  We  now  come 
to  the  point  where  we  must  enter  upon  the  historical  and  practical 
study  of  the  relation  of  music  to  poetry,  and  of  the  manner  and  extent 
of  the  action  of  j^oetry  upon  it.  The  subject  is  a  very  large  one,  and 
for  full  handling  takes  us  over  wide  lapses  of  time  and  a  considerable 
range  of  topics.  In  general,  however,  we  shall  obtain  a  fair  idea  of 
the  course  of  this  development  if  we  attend  carefully  to  the  observa- 
tions followino-. 

In  the  vmion  of  poetry  and  music,  both  sides  have  to  make  im- 
portant concessions.  These  are  of  so  seinous  and  so  vital  a  character 
that,  speaking  in  a  broad  sense,  we  might  say  that  both  poetry  and 
music  must  needs  sacrifice  their  most  eminent  qualities,  as  poetry  and 
music  respectively,  in  order  to  successfully  unite  themselves  in  the 
complex  utterance  of  song.  We  arc  alread3^,  to  some  extent,  pre- 
pared to  understand  this,  by  our  studies  in  Chapter  XXY.  For,  as  we 
there  saw,  the  distinctive  excellencies  of  Poetry  are  its  sense-pictures, 
and  its  power  of  awakening  emotion  by  contrasts  and  collisions  of 
persons,  respectively  living  and  acting  out  the  opposing  principles  be- 
tween which  the  collision  takes  place.  The  highest  jDoetry,  while 
always  in  sense-forms,  is  peculiarly  and  pre-eminently  intensified  by 
thouo-ht. 

The  first  and  perhaps  chief  difficulty  Poetry  has  to  contend  with 
ifi  uniting  with  music,  is  the  long  time  consumed  by  musical  utterance, 
a  time  from  two  to  six  times  greater  than  speech, — and,  it  may  be 
added,  constantly  increasing  in  the  later  composers,  as  we  see,  for  ex- 
ample, in  Max  Bruch's  Lay  of  the  Bell,  etc.  Almost  any  poetical  pic- 
ture or  scene  runs  through  four  lines,  and  sometimes  through  ten  or 
twenty,  but  as  all  tiiese  lines  do  something  towards  completing  the 
picture,  they  must  all  be  retained  in  tlie  mind  at  the  same  time.     Ordi- 


THE   INFLUENCE   OF   POETRY   UPON   MUSIC.  103 

nary  reading  passes  so  quickly  as  to  permit  the  mind  to  do  this  with- 
out difficulty.  But  when  tliis  time  is  spun  out  too  long,  and  especially 
when  the  unity  of  the  description  has  been  destroyed  by  the  inception 
and  completion  of  several  musical  periods  to  one  period  of  words,  the 
pictorial  quality  of  the  poetry  is  lost  in  the  song.  In  like  manner,  the 
very  form  of  musical  utterance  is  fatal  to  the  intelligible  expression  of 
any  kind  of  reasoning,  or  deduction  of  eoni'luslons  from  premises. 
Not  even  Beethoven  would  be  able  to  set  to  music  successfully  such  a 
passage  as  Portia's  Plea  for  Mercy,  in  "The  Merchant  of  Venice.'* 
Music,  as  we  well  know,  is  the  expression  of  feeling;  when  poetry  be- 
comes directly  expressive  of  emotion  it  becomes  musical — provided 
only  that  its  feeling  is  not  outside  of  or  contrary  to  music.  Thus 
when  hate,  revenge,  or  remorse  are  the  feelings  seeking  expression  in 
the  words,  music  can  do  nothing  to  aid  them,  for  they  are  in  their 
essence  contrary  to  music,  and  if  at  all  representable  in  sounds,  repre- 
sentable  only  in  harsh  and  hideous  discords.  Yet  even  this  rano-e 
must  not  be  denied  the  opera;  we  can  only  limit  its  recourse  to  such 
extravagant  measures,  to  its  moments  of  brief  and  insuperable  necessity, 
to  bo  atoned  for  by  many  a  bar  of  tuneful  penance.  Hence  we  may 
say  in  general  that,  in  order  to  adapt  itself  to  musical  expression, 
Poetry  must  forego  its  reason,  its  long-spun  descriptive  passages,  and, 
to  a  certain  extent,  its  coherence.  Its  pictures  must  become  mere 
outlines,  such  as  a  couple  of  phrases  will  compass;  its  thought  sharp, 
incisive,  terse,  and  never  of  an  abstract  character.  And  it  is  onlv 
when  it  speaks  directly  the  language  of  the  heart,  that  musical  utter- 
ance becomes  indispensable  to  its  completeness.  K.  true  lyric  requires 
music  to  fully  express  it.  Of  such  sort  are  all  true  hymns,  such  as  the 
"Gloria,"  the  "Te  Deum,"  the  "Venite,"  "Jubilate."'  These  without 
the  voice  of  song  are  but  birds  or  ano-els  without  vring;s. 

On  the  other  hand.  Music  has  much  to  lose  in  a  direct  union 
with  poetry.  She,  also,  must  part  with  her  coherence  in  long  forms. 
Such  closely  knit  and  legitimately  developed  musical  creations  as  the 
great  organ  fugues  of  Bach,  and  the  sonatas  or  symphonies  of  Bee- 
thoven-are  entirely  foreign  to  the  spirit  of  song.  Here  first  music  has  to 
consider  the  compass  and  pitch  of  the  voice,  and  its  eifectiveness  in 
different  registers.  One  recalls  here  the  remark  of  the  teacher,  him- 
self a  distinguished  composer,  who,  when  a  pupil  brought  him  an  an- 
them in  which  the  tenor  had  the  words  "Praise  the  Lord"  on  G  below 
middle  C,  crossed  out  the  passage  with  the  remark,  "The  tenor  am 
not  '  praise  the  Lord'  below  middle  C,"  alluding,  of  course,  to  the  non- 
effectiveness    of  the   tenor  voice  at  so  low  a  pitch.     So,  also,   music 


Vii 


HOW  TO   UNDERSTAND   MUSIC. 


must  provide  the  singer  with  opportunities  for  breatliing,  and  inter- 
ludes for  rest  after  trying  passages.  Slie  must  not  forget  to 
confine  herself  within  a  practicable  range  of  keys,  for  singers  sing  on 
melodic  principles,  and  no  singer  sings  or  thinks  a  full  score.  These, 
with  many  other  such  like  restrictions,  inhere  in  the  very  nature  of  song, 
and  hamper  the  musical  composer  extremely.  The  old  proverb  says 
that  "necessity  is  the  mother  of  invention";  so  here  the  necessity  of 
finding  compromises  or  mutual  concessions  between  music  and  poetry 
has  at  length  led  to  several  well  defined  types  of  song,  which  differ 
from  each  other  in  the  manner  and  nature  of  the  concessions  made. 
These  are  (1)  Simple  Ballad,  (2)  The  Recitative,  (3)  The  Aria  and 
Scena,  (4)  The  German  Thoroughly  Composed  Song,  (5)  The  Arioso, 
and   (G)   the  union  of  them  all  in  The  Oratorio  and  Opera. 

In  all  these  modes  of  union  there  are,  however,  certain  prin- 
ciples that  remain  constant  and  must  not  be  violated.  These  are  the 
correct  accentuation  and  emphasis  of  the  Avords,  according  to  the  sense, 
and  the  correspondence  of  the  music  to  the  poetry  in  respect  to  feel- 
ino^.  All  forms  of  sono-  must  observe  these  conditions.  To  this  extent, 
at  least,  poetry  is  dominant.  Besides,  the  musical  phrasing  must  be 
made  to  correspond  with  the  grammatical  and  declamatory  necessities 
of  the  text,  and  this  in  all  forms  of  vocal  pieces.  Besides  these,  there 
are  important  variations  in  style, resulting  from  the  greater  or  less  at- 
tention paid  to  the  convenience  of  the  voice.  Thus  Italian  songs,  in 
general,  are  carefully  planned  so  as  to  suit  the  voice,  and  to  require  ef- 
fect only  at  ranges  of  pitch  in  which  effect  is  possible.  Moreover,  this 
entire  school  indul2:es  itself  less  with  chromatic  and  difficult  modula- 
tions,  and  in  general  is  mucli  less  elaborate,  as  music  merely,  than  the 
German  sonars.  The  Italians  consider  the  voice  the  main  thinsf  in 
sinjT-ino-:  the  Germans  the  idea.  In  thus  rano-insr  themselves  under 
ojiposite  principles,  both  parties  fall  short  of  their  goal.  The  German 
ruins  his  song  for  actual  delivery,  by  placing  it  badly  for  the  voice. 
This  appears  continually  iu  Bach,  and  Schumann,  and  frequently  in 
other  writers.  The  Italian's  method  of  work,  on  the  other  hand,  pro- 
duces a  composition  in  which  the  voice  makes  an  agreeable  effect;  so 
that  these  works  are  cherished  all  the  world  over,  as  the  most  conveni- 
ent show-pieces  for  singers.  Nevertheless  he  works  within  so  narrow 
musical  limits  as  seriously  to  impair  the  value  of  his  pieces  from  the 
musical  side.  And  in  general  it  is  not  too  much  to  say  that  even  the 
best  Italian  music  sounds  thin  and  unsatisfactory  when  compared  with 
the  best  German  music;  while  the  common  run  of  Italian  work  is  thin 
indeed. 


THE   SIMPLE    15AI.LAD.  125 

Yet,  after  all,  tlio  Italian  certainly  has  the  advantage  in  the  matter 
of  taste,  and  we  find  in  the  productions  of  such  writers  as  liossini,  Bel- 
lini, Donizetti  and  Mercadante,  as  well  as  in  the  simple  canteleni  of 
less  noted  composers,  a  grace  and  elegance  of  style  which,  since  Gliick 
and  Mozart,  is  no  longer  to  be  found  in  German  sontr. 


LESSON     THIRTY -SEVENTH. 

THE  SIMPLE  BALLAD. 

The  nearest  example  of  the  union  of  poetry  and  music  is  afforded 
by  the  simple  ballad.  Musically  considered  it  consists  of  a  symmetri- 
cally balanced  and  pleasing  melody,  of  a  quiet  character,  with  words 
easily  enjoyed  by  the  common  people.  In  this  form  of  composition  the 
•melody  is  of  the  foremost  importance,  and  in  very  many  cases  was  first 
composed,  and  the  words  afterwards  written  to  fit.  As  a  rule,  l)()tli 
words  and  music  are  pleasing,  quiet,  popular,  and  l)ut  a  shade  removed 
fi'om  the  commonplace.  Examples  of  this  class  are  i^ractically  innu- 
merable. We  may  begin  with  almost  any  specimen.  Let  it  be  Dr. 
Geo.  F.  Root's  "Brooklet,"  from  the  "Curriculum."  (T'laj^s  and  sings.) 
Another  examjDle  is  "Joys  that  we've  tasted,"  adapted  to  an  Irish 
inelody.  (Plays  and  sings.)  Other  examples  are  the  two  by  Mr.  Root 
so  popular  many  years  ago,  "  The  Hazel  Dell"  and  "Ro^salie,  the 
Prairie  Flower."  (Sings  "Hazel  Dell.")  This  class  also  includes  manv 
songs  of  a  sad  and  mournful  temperament  (as  well  as  manv  sadly  poor 
ones),  such  as  "Pass  Under  the  Rod,"  Mr.  Root's  "Vacant  Chair," 
Miss  Linsay's  "  Resignation,"  etc. 

Of  the  same  kind  is  Claribel's  "O  many  a  time  I  am  sad  at  heart." 
(Sings.)  The  life  of  this  song  is  mainly  in  its  words.  This  was  not  so 
much  the  case  in  the  earlier  American  sono-s  of  the  same  class,  as  is 
shown  by  the  continual  popularity  of  the  music  in  cotillons,  quadrilles, 
etc.,  after  the  words  have  been  forgotten.  This  was  also  the  case  with 
Mr.  Stephen  C.  Foster's  "Uncle  Ned"  and  " Massa's  in  the  Cold,  Cold 
Ground,"  "Old  Folks  at  Home,"  etc.  In  all  of  these  the  distinsruishino- 
feature  was  the  asfreeable  and  easilv-remembered  melody.  Another 
example,  depending  partly  on  its  words  and  partly  on  its  music  for  a 
deserved  popularity  is  Claribel's  "Five  o'clock  in  the  Morning." 
(Sings.)      In  this  the  music  takes  a  wider  rauge  of  harmonies  than  in 


136 


now   TO   UNDERSTAND   MUSIC. 


any  of  the  American  examples  referred  to.  In  Claribel's  "Come  Back 
to  Erin"  we  have  a  still  more  unmistakable  example  of  a  purely  musical 
interest  and  that  mainlv  in  the  melodv.  This  melodv  has  been  sunc: 
and  played,  varied  and  arranged,  all  over  the  English-speaking  world. 
(Sings.) 

The  apparent  depth  and  meaning  of  these  songs  are  very  much  in- 
creased when  the  words  are  deliberately  and  clearly  spoken,  and  the  mel- 
ody delivered  with  artistic  emphasis.  An  example  of  this  was  afforded 
bv  Nillsen's  singrinar  of  "Old  Folks  at  Home"  in  her  American  concerts, 
and  in  the  practice  of  ihe  popular  singers  in  London,  as  well  as  Mme. 
Parepa-Rosa's  "Five  oVlock  in  the  Morning,"  etc.  Such  a  delivery 
would  lend  dignity  and  worth  to  any  air,  however  empty.  Tt  is  there- 
suit  of  thorough  control  of  the  voice  and  extended  experience  in  the 
deliverv  of  evorv  kind  of  sono-. 

List  of  Illustrations. 

1.  The  Brooklet,  l)y  Dr.  Geo.  F.  Root,  "  Curriculum. 

2.  Joys  thiit  We've  Tabled. 

n.  Hazel  Dell.     Dr.  Geo.  F.  Rof)t. 

4.  Pass  under  the  Rod. 

5.  The  Vacant  Chair.     Root. 

6.  Resignation.     Miss  Linsaj-. 

7.  O  Many  a  Time  I  am  S:ul  at  Heart.     Claribel. 

8.  Five  o'clock  in  the  Morning.     Claribel. 

9.  Come  Back  to  Erin.     Claribel. 


LESSON     THIRTY- EIGHTH. 


RECITATIVE. 


Our  second  type  of  song  is  one  in  which,  cleaily,  the  text  receives 
primary  consideration.  By  Recitative  is  meant  a  form  of  song  to  which 
the  text  is  set  to  musical  pitch  and  cadence,  but  not  to  a  definite  speed, 
rhythm,  or  in  lyrically-adjusted  phrases.  In  this  form  of  song  it  is  the 
sole  task  of  the  music  to  afford  an  impressive  and  suitable  delivery  of 
the  words.  In  plain  recitative  the  accompaniment  consists  only  of  sim- 
ple chords.  Of  all  writers,  Handel  was  at  times  particularly  fortunate 
in  his  recitatives,  and  nowhere  more  so  than  in  the  "  Messiah."  Observe 
the  dignity  of  the  following:     (Plays  and  sings  the  recitative  "  Behold  a 


RECITATIVE.  I07 

virgin  sliall  conceive,"  from  "Messiah.")  And  this:  (Plays  and  sings 
"Then  shall  the  eyes  of  the  blind  be  opened,"  also  from  the  "Mes- 
siah.") 

This  form  of  song  admits  of  great  pathos.  Handel  affords  a  great 
example  in  the  tenor  recitative  "  Thy  rebuke  hath  broken  his  heart." 
(Sings  it.)  In  this  the  melodic  cadences  are  extremely  clever,  and 
will  be  tlie  subject  of  remark  presently.  Measured  recitative  differs 
from  the  plain,  in  having  a  measured  accompaniment,  and  hence  in  re- 
quiring of  the  voice  at  least  an  approximate  adherance  to  the  measure. 
In  one  instance  Handel  has  contrasted  these  two  methods  witli  fine 
effect.  Thus  in  the  "  Messiah"  we  find  the  plain  recitative  "  There  were 
shepherds  abiding  in  tlie  field."  This  is  followed  by  a  measured 
recitative  to  the  words  "Andlo!  the  angel  of  the  Lord  came  upon 
them."  And  this,  again,  by  the  j^lain  recitative  "And  the  angel 
said  unto  them."  And  this,  again,  bv  the  measured  recitative  "And 
suddenly  there  was  with  the  angel."  (Sings  the  two  measured  recita- 
tives first,  and  afterward  the  four  in  succession.)  One  of  the  most 
beautiful  examples  of  measured  recitative  is  found  in  the  opening  num- 
ber of  the  "  Messiah,"  "Comfort  ye,  my  people."  (Sings.) 

In  all  these  examples  the  music  is  determined  in  the  effort  to  fur- 
nish suitable  expression  to  the  words.  To  recur  to  an  example  already 
given,  consider  "  Thy  rebuke  hath  broken  his  heart."  The  very  fiist 
upward  inflection  on  the  word  "rebuke,"  and  the  downward  swee])  of 
the  octave  in  "hath  broken  liis  heart,"  are  extremely  impressive.  So, 
again,  when  the  words  come  "  but  there  was  no  man,"  the  emphasis 
falls  on  the  last  word;  but  when  the  same  words  are  repeated  the 
emphasis  falls  on  "  was." 

In  many  instances  the  phrases  of  recitative  are  interspersed  or  in- 
tercalated between  descriptive  phases  of  the  accompaniment.  Of  this 
we  have  many  examples  in  Haydn's  "Creation."  So  we  have  it  in 
Raphael's  "Now  furious  storms  tempestuous  rage,"  which  is  preceded 
by  the  storm  in  the  orchestra.  And  so  successive! v  are  set  "As  chair 
by  the  winds  are  impelled  the  clouds,"  "By  heaven's  fire  the  sky 
is  inflamed,"  "And  awful  thunders  are  rolling  on  high,"  etc.  This 
])lan  of  structure  suggests  the  Apostolic  practice  of  afterward  inter- 
preting the  prophecies  just  delivered  in  unknown  tongues.  In  the 
same  way  is  treated  "In  splendor  bright."      (Sings.) 

Perhaps  the  most  insignificant  form  of  recitative  is  that  where  tlie 
voice  recites  on  a  monotone  while  the  orchestra  pursues  a  measured 
melody.  In  this  case,  of  course,  the  text  is  little  if  at  all  considered. 
A  convenient  example  of  tliis  is  afforded  by  a  passage   in   Anibi'oise 


1-28 


HOW   TO    UNDERSTAND   MUSIC. 


Thomas's  well-known  song  from  "  Mignon,"  "  Know'st  thou  the  land," 
where  a  difficult  and  unmusical  part  of  the  text  is  treated  in  this 
way.  Here,  indeed,  it  is  managed  with  real  art,  since  it  but  serves 
to  intensify  the  climax  that  follows.  (Sings  Mignon's  song.)  The 
musical  structure  of  recitative  is  necessarily  coherent,  else  it  could 
not  bo  sung.  But  it  does  not  return  upon  itself  in  lyrically-arranged 
phrases. 

List  of  Illustuatioxs. 

1.  "Behold  !i  vh'giu  ^luill  conceive."     No.  7  of  Handel's  "  Messiah." 

2.  "Tlicn  shall  the  eyes  of  the  blind  be  openeil."     No.  17,  the  same, 
o.  "Thy  rebuke  hath  broken  his  heart."     No.  27,  the  .same. 

4.  "There  were  shepherds  abiding  in  the  field."     No.  14. 

5.  "  Comfort  ye,  my  people."     No.  1,  the  same. 

().  "And  God  made  the  firmament."     No.  4,  "Creation." 

7.  "In  splendor  bright."     No.  13,  "  Creation." 

8.  Mignon's  song  from  the  Opera  of"  Mignon,"  by  Ambroise  Thomas. 


LESSON  THIRTY-NINE. 


THE  ARIA  AND  SUENA. 


The  aria  is  a  regularly  developed  musical  form.  Its  text  is  usu- 
ally meagre.  In  the  older  works  it  consists  of  l)uta  single  couplet,  or 
at  most  of  but  tw(^  or  three.  The  music  seizes  the  emotional  content  of 
the  text,  and  repeats  it  over  and  over,  builds  out  of  it,  intensifies  it  in 
many  wavs.  Examples  are  innumerable.  Let  us  begin  with  Bach's 
"My  heart  ever  faithful."  (Sings.)  In  this  we  have,  first  and  foi'emost, 
good  music.  And  this  also  is  elaborated  out  of  very  few  motives. 
The  first  phrase  returns  with  the  persistence  of  a  rondo.  In  tlie  in- 
termediate couplets,  which  serve  for  episodes,  the  words  are  l)roken  in 
two,  the  syllables  separated,  and  elocutionary  ])i'oprieties  violated 
with  impunity.  Yet  it  is  an  extremely  enjoyable  piece  of  music.  In 
this  case  we  see  plainlv  that  niusic  has  o-iven  up  little  of  its  own. 

Of  the  same  kind  is  Handel's  "Oh  had  I  Jubal's  lyre,"  except  that 
he.-e  there  is  an  evident  ])leasure  in  providing  agreeable  passages  for  the 
voice,  which,  however,  are  in  very  good  keeping  v/ith  the  emotional 
stand-point  of  the  song.  (Sings.)  In  other  cases  the  text  is  treated 
more  seriously,  as  in  Handel's  "He  shall  feed  his  flock,"  and  "How 
Ix^autiful  are  the  feet."   (Sings.)      In  both  these,  as  indeed  in    tlic    pre- 


THE   ARTA  AND   SCENA.  12? 

vious  examples,  we  have  eonsisteiiLly  developed  musical  creations, 
which  in  ])Oiiit  of  I'orni  are  the  same  as  the  gavottes,  sarabands,  etc. 
of  the  ancient  binary  oi'dei'.  In  respect  to  musical  devidopmcnt  they 
])artake  somewhat  ol'  the  spirit  of  tlie  thematic,  sinc(>  the;  leading 
motives  are  often  repeated,  transformed,  presented  with  various  har- 
monies, modulated  into  new  keys,  etc.,  in  a  manner  \-erv  dilfi'i-ent 
from  what  we  find  in  the  simple  ballad. 

The  aria  is  also  capable  of  being  applied  to  descriptive  purposes. 
Of  this  we  have  two  very  pretty  examples  in  Haydn's  "Creation,"  in 
the  well-known  soprano  songs  "With  verdure  clad,"  and  "On  mighty 
pens."  (Sings,  ]>oth,  if  convenient.)  The  descriptive;  part,  it  will  ])e 
<)])served,  is  in  the  accompaniment  rather  than  in  the  vocal  ])hrases. 

Mozart  imparted  to  the  aria  the  simplicity  and  grace  of  the  pe(> 
ple's  song,  and  at  the  same  time  contrived  for  the  most  part  to  remain 
true  to  the  spirit  of  his  text.  Some  of  these  songs  are  of  the  most  ex- 
(piisite  character,  as  for  example, "  T^ec^rt^i  Carlno''''  and'^'-Jidtti,  7>(YWtV' 
sung  by  Zerlina  in  "Don  Giovanni."  (^f  the  same  kind  is  the  tenor 
ai'ia  '■''Ilinio  tesoro^'  in  that  opera,.  Another  one  of  tiie  same  sort  is 
'■'■Poryt  (0)101%''''  in  Mozart's  "Figaro."  Tn  ^'■Dove  Hon.o^''  of  the  same 
opera,  we  have  a  more  varied  treatment.  An  (Khh/io^  first  })art, 
changes  to  an  allegro^  closing  part.  (Let  any  of  these  be  sung  that 
can  be  conveniently  produced.  It  does  not  particularly  matter  which, 
since  all  manifest  in  general  the  same  traits.) 

Another  famous  example  of  the   aria   is    Beethoven's    well-known 

'  J. 

song,  "Adelaide."*  (Sings.)  This  song  is  a  fully  developed  piece  of 
instrumental  music,  in  whicii  the  voice  is  treated  fi'oni  a  imisical 
standpoint,  merely,  as  if  it  were  a  violin  or  'cello. 

Tn  Italian  opera  we  have  various  kinds  of  aria,  all,  however,  hav- 
ing the  quality  of  adaptation  to  the  voice.  Tn  tlu^se  the  well-sound- 
ing, the  effective,  the  astonishing,  the  tuneful,  are  the  chief  points  of 
concern.  Thus  in  Bellini's  "Norma''  we  have  the  lovely  "(/a.s'^f  7>//v^," 
an  air  which  is  now  out  of  style,  and  is  indeed  somewhat  wanting  in 
heart  when  compared  with  those  of  Mozart,  Ijut  which,  nevertheless, 
is  tuneful  and  lefined,  and,  when  well  done,  an  extrenndy  ])ri'tty  piece 
of  singing.  (Sings.)  Tn  Bellini's  "  Sonnaml)ula"  we  have  a  similar 
song,  '•'•Ah  non  Credea^''  and,  at  the  close,  the  famous  war-horse  cjf 
prima  doimas,  '•'•Ah  non  r/iunr/e,''''  where  the  voice  becomes  a  mcM-e  in- 
strument of  reioicino-   and  the  text  as  such  is  verv  little  resfarded. 

Again  there  is  the  scena,  or  scene,  to  be  taken  into  account;  a 
composition   in   which   recitative,  arioso,  and    aria    altc^rtiate   according 

*Tae  pronunciation  required  by  the  musl  c  is  iid-el-a-ec  -de. 
9 


130  HOW  TO   UNDERSTAND   MUSIC. 

to  the  I'aiicy  of  the  composer,  in  order  to  meet  unusual  transitions  in 
the  text.  Examples  ol'  tliis  are  found  in  the  great  dramatic  scene  for 
soprano  in  Weber's  "Oberon,"  "Ocean,  thou  mighty  monster,"  and  in 
"Der  Freyschixtz,"  where  the  prayer  occurs.  In  these  the  fullest  re- 
sources of  the  orchestra  are  unsparingly  employed  to  paint  the  dra- 
matic situation 

Throughout  all  forms  of  the  aria,  the  music  is   consistently  devel- 
oped, as  music.     The  general  spirit   of  the   text  is  seized  and   repre- 
sented, but  no  effort  is  made  to  represent  merely  transitory  shades    of 
feeling,  except  in  descriptive   arias.     When   this  is   done    it   naturally 
dejirives  the  aria  of  its  power  to  absorli   and   carry   along    the  listener, 
because  such  a  lingering  on   separate   uleas  precludes  attention  to  any 
single,  grand,  overmastering  impulse  of  feeling;  and  this  is   what  the 
aiia  has  for  Its  fundamental  design  to   express.     It   is  to  be  observed 
further  of  the  examples  here  referred  to,  that  they  are  all  from  master- 
works,  by  great  composers,  and  are,  for  the  most  part,  the  chief  arias  in 
the  works  in   question.     They  represent,   therefore,  the    highest   con- 
ception of  song  in  this  direction,  and  for  their  adequate  interpretation 
demand  exceptional    voices,   thoroughly  trained,   and  musical  endow- 
ments   of   high    order.        Nevertheless,    an     inferior     presentation    of 
them  will  serve  to  familiarize    one    with   their   pliraseology   and   mode 
of  treatment.      Only,  if  they  fail  of  effect  in  such  presentation,  it  must 
be  remembered  that  thev   are  reallv   £i;reat  works,  and    require   to  be 
heard  many  times. 

List  of  Illustrations. 

1.  "My  heart  ever  faithful,"  Bach. 

2.  "O,  had  I  Jubal's  lyre!"  Handel. 

3.  "IIj  shall  leed  his  flock,"  Handel. 

4.  "How  beautiful  are  the  feet."  Handel. 

•J,  "With  verdure  clad,"  from  the  "Creation,"  Haydn. 

G.  "On  mighty  pens,"  Haydn.  , 

7.  "Vedrai  C  irino,"  irom  "Don  Giovanni,"  Mozart. 

8.  "Balti.Balti,"  froai  "Don  Giovanni,"  Mozart. 

9.  'II  mio  tesoro,"  from  "Don  Giovanni,"  Mozart. 

10.  "D.jve  sono,"  from  "Figaro,"  Mozart. 

11.  "Porgi  amor,"  from  "Figaro,"  Mozart. 

12.  "Voi  che  sapete,"  from  "Figaro,"  Mozart. 

13.  "Adelaide,"  tenor  song,  Beethoven. 

14.  "Casta  Diva,"  from  "Norma,"  Bellini. 
lo.  "Ah  non  Crcdea,"  Bellini. 

IG.  "Ah  non  giunge,"  "Sonnambula,"  Bellini. 

17.  "Ocean,  thou  mighty  monster,"  from  "Oberon,"  Weber, 


THE  THOROUGHLY  COMPOSED  SOXG.         131 


LESSON     FORTY. 

THE  THOROUGHLY  COMPOSED  SONG. 

Tlie  simple  ballad  and  the  aria  liav(^  this  in  common,  that  the}'' 
both  strive  first  for  a  symmetrically  r<>turning  lyric  melody.  Each 
ballad  or  aria  represents  on  the  whole  a  particular  phase  of  emotion, 
or  state  of  feeling,  from  which  no  wide  departure  is  made  throughout 
the  song.  In  the  ballad  this  arises  from  the  necessity  of  repeating  all 
the  stanzas  of  the  words  to  the  same  melody;  and  in  the  aria  it  is  a 
natural  consequence  of  the  paucity  of  words.  An  aria  although  fre- 
quently extended  to  six  or  eight  or  ten  periods,  rarely  has  more  than 
two  or  three  cou]ilets  of  words.  Thus,  in  placing  the  emphasis  upon 
the  tnusic,  rather  than  upon  the  text,  both  ballad  and  aria  display  a 
decided  congeniality  of  spirit.  The  aria  is  a  ballad,  magnified  or  exalted 
to  meet  more  important  demands. 

We  come  now  to  the  study  of  a  form  of  song  whlcli  we  owe  chiefly 
to  Schubert  and  Schumann,  in  which  the  text  and  music  receive  almost 
equal  consideration,  yet  in  such  a  way  as  to  afford  every  part  of  the  text 
a  legitimate  musical  expression.  This  necessarily  includes  the  idea  of 
a  spontaneous  musical  activity  in  the  music,  for  as  soon  as  it  ceases  to 
be  free  in  its  movement,  it  ceases  to  be  expressive.  The  Germans  call 
it  the  durc/icompoirii'te  Lied^  or  "song  composed  throughout.'"  As 
there  is  no  English  equivalent  of  this  expression  in  use,  the  title  here 
employe<l  is  "thoroughly  composed  song;"  and  the  meaning  is  that 
every  stanza  of  the  song  has  its  own  music,  different  from  the  others, 
and  suited  to  the  peculiar  needs  of  the  words.  Unity  is  subserved  by 
a  rotiu-n  of  the  first  stanza,  or  of  something  very  like  it,  in  the  form  of  a 
refrain. 

We  cret  somethins:  of  this  in  the  earlier  son2;s  of  Schubert,  as  the 
"Miller"  son  as.  But  it  is  in  the  "-rand  ballad  of  the  "  Erl  Kin<i:"  that 
we  have  one  of  the  most  shining  examples.  This  ballad  contains  five 
speakers,  the  narrator,  the  boy,  the  Erl  King  and  Erl  King's  daughter, 
and  the  father.  Although  the  singer  represents  them  all,  each  one  has 
a  particular  form  of  expression.  Thus  the  narrator  has  a  plain  figure 
accompanied  by  that  wonderful  figure  of  repeating  octaves.  The  father 
speaks  in  a  low  voice;  the  son  in  a  higher  one, and  with  more  wildness. 


132  HOW  TO    UNDERSTAND   MUSIC. 

The  Erl-King's  daughter  speaks  caressingly,  and  this,  also,  tlie  accompa- 
niment intensifies.  When  the  boy  is  touched  by  the  Erl-King,  he  cries 
out  with  terror,  and  always  a  semitone  sharp  of  the  accompaniment. 
This  is  a  touch  of  realism.  Considered  merely  as  music  this  piece  is  one 
of  the  most  remarka,ble  examples  of  the  romantic  school;  it  has  been 
very  popular  in  instrumental  arrangements.  But  it  is  plain  to  see  that 
the  music  has  derived  its  most  important  suggestions  from  the  words. 
(Sings.) 

Another  examjile,  equally  fine  in  its  way,  though  not  so  diversified, 
is  found  in  Schubert's  "  Gretchen  at  the  spinning  wheel."  ,  In  this  we 
have  the  n:ionotonous  whirlinsx  of  the  wheel,  the  sadness  of  Marguerite 
after  meeting  Faust,  her  dreams  of  love,  and  her  fears  she  Avill  never 
see  him  again,  and  especially  the  very  effective  climax  at  the  word 
"kiss."      (Sings.) 

Schumann  effects  a  still  closer  union  between  the  text  ana  the 
music.  Indeed  we  might  say  that  Schumann's  genius  consisted  in  his 
preternatural  quickness  in  tJimking  music,  and  his  intuitive  realization 
of  the  true  relation  between  music  and  emotion.  Amono-  the  greatest  of 
his  sono-s  are  the  six  called  "Woman's  Love  and  Life."  These  are  bv 
no  means  of  equal  merit.  Perhaps  the  very  choicest  is  "  He,  the  best  of 
all,  the  noblest,"  in  which  the  maiden  tells  the  virtues  of  her  love. 
This  sona;  is  one  of  the  most  remarkable  that  exist.  The  interest  of  it 
is  not  in  the  vocal  part  alone.  The  melody  is  very  far  from  com- 
pleting itself  within  the  usual  lyric  limits.  The  first  period  closes  with 
a  half-cadence  into  the  dominant,  and  the  subject  is  completed  by  the 
piano  alone.  The  harmony  is  extremely  fresh  and  varied.  The  princi- 
pal tnotive  appears  in  many  forms,  and  modulations  are  unsparingly 
employed.  Yet  the  song  as  a  whole  has  a  warmth,  a  vitality,  an  onward 
sweep,  such  as  is  hardly  anywhere  else  to  be  found  m  a  song.  And 
especially  the  music  is  remarkably  true  to  the  text.      (Sings.) 

The    next    one   gives  us    a  different    phase  of  the   woman's  heart. 

"  Tis  true,  I  cau  not  believe  it,    " 
A  dream  doth  my  senses  enthrall," 

After  this  follows  the  charming  piece 

"  Thou  ring  upon  my  finger 
Thou  dear  little  golden  ring." 

a  sono-  little  if  at  all  inferior  to  the  o-reat  one  before-mentioned. 
(Sings.) 

The  entire  Schumann  nature  is  to  be  found  in  his  songs.  One 
phase  of  it,  although  not  strictly  belonging  here,  we  may  characterize  as 


THE   TIIOKOUGIILY   COMPOSED   SONG.  133 

the  tender  and  deep.  It  is  illustrated  by  the  lovely  little  piece  "  Moon- 
light."    (Sings.) 

Again  in  '■'■  Wdldesgesprdch''''  (Woodland  Di  ilogue),  we  have 
another  example  of  a  dual  personality  expressed  by  means  of  a  change 
of  style  in  the  music.  There  are  two  speakers,  the  knight  and  the 
sorceress  "  Loreley."  The  knight  speaks  in  a  quick,  martial  motive; 
Loreley  in  more  gentle  accents  and  to  a  harp-like  accompaniment. 
(Sings.) 

There  is  another  form  of  song  nearly  allied  to  these,  called  Arioso. 
By  this  is  meant  an  aria-like  form,  which  may  be  either  a  small  and  less 
intense  aria,  or  a  piece  in  which  lyric  phrases  do  not  comjilete  themselves 
by  sequences  aiid  tonality  into  regular  period  forms.  But  instead 
thereof,  the  melody  closely  follows  the  words,  and  the  periods  are 
lengthened,  shortened,  modulated  into  other  keys,  or  completed  in  any 
way  that  the  feeling  of  the  words  seem  to  require.  Mendelssohn  uses 
the  term  arioso  to  denote  a  small  and  less  complete  aria.  In  this  sense 
we  have  in  St.  Paul  the  arioso,  "  But  the  Lord  is  mindful  of  His  own." 
(Sings.)  Wagner  is  the  great  ex])onent  of  this  form  of  writing.  He  has 
employed  it  with  the  greatest  freodon,  and,  it  maybe  added,  with  great 
propriety  and  beauty.  A  lovely  example  is  Elsa's  balcony  song  in 
"Lohengrin."      (Sings.) 

The  thoroughly  composed  song  and  the  arioso  represent  the  latest 
advance  in  the  union  of  music  and  poetry.  As  suggested  in  the  Chap. 
XXXVI,  both  music  and  poetiy  have  something  to  sacrifice  in  the  union. 
If  we  attend  closely  to  the  texts  of  these  later  songs  we  shall  find  that 
the  unmusical  elements  of  poetry  have  been  eliminated,  and  that  the 
words  now  express  sentiments  congenial  to  music.  On  first  sight  the 
music  seems  to  have  retained  its  qualities  better.  But  if  we  examine 
these  later  songs  and  arioso-pieces  we  shall  fiml  that  clearness  and 
definiteness  of  form  have  nearly  departed  from  the  music.  The  period- 
forms  are  so  vague,  and  the  modulations  into  so  remote  keys,  and  occur 
so  frequently  ("  near  and  far,"  as  the  song  has  it)  that  it  requires  a 
special  training  in  the  most  recent  music  in  order  to  really  enjoy  them 
when  heard  as  instrumental  music  merely.  If  such  works  are  to  be 
enjoyed,  it  is  only  when  the  voice  and  musical  qualities  of  the  singer 
have  been  cultivated  to  an  extent  adequate  to  these  demands,  and  are 
employed  in  subjection  to  a  strongly  conceived  and  trulv  dramatit-  in- 
terpretation of  the  text.  They  require  much  more  of  a  singer  than  the 
famous  "voice,  voice,  toujours  Voice." 

Of  the  same  general  nature  as  the  thoroughly  composed  song  is  the 
Enseitihle,  an  important  form  in  opera.     The  ensonhle  staads  at  that 


134  HOW  TO   UNDERSTAND   MUSIC. 

point  in  the  drama  where  certain  opposing'  principles  have  been  intro- 
duced in  the  personages  representing  them,  and  here  they  are  all 
brougiit  upon  the  stage  together.  The  problem  for  the  composer  to 
solve  is  to  unite  these  contradictory  imjDulses  in  the  performance  (or, 
as  it  seems  on  the  stage,  productioii)  of  a  consistent  and  satisfactory 
piece  of  music,  without  causing  the  persons  to  violate  their  own  indi- 
vidual characters  and  dispositions.  In  the  nature  of  the  case  this  prob- 
lem is  impossible  of  solution.  For  altliough  a  certain  amount  of  indi- 
viduality in  the  different  parts  of  an  ensemble  piece  can  well  enough 
be  attained  by  skillful  use  of  counterpoint,  it  remains  certain  that  no 
piece  produces  a  coherent  impression,  that  does  not  present  some  lead- 
ing idea,  and  therein  a  dominant  emotion,  which  of  course  can  not  be 
done  without  practically  extinguishing  at  least  a  considerable  part  of  the 
opposing  element.  Many  beautiful  ensemble  pieces  are  to  be  found  in 
opera.  In  some  the  librettist  has  simplified  the  matter  by  leaving  out 
the  contradictions.  In  others  the  most  antagonistic  persons  alternate 
with  each  other  and  presently  join  in  as  soprano  and  second,  like  society 
women  who  kiss  in  public  and  back-bite  in  private,  and  the  music  of 
the  whole  goes  not  as  tlie  text  goes,  but  as  the  composer  would  have 
it.  AVagner  has  attempted  to  meet  this  difficulty  in  other  ways,  as  we 
sliall  see  later.  Some  of  the  best  ensemble  pieces  are  to  be  found  in 
Mozart's  operas.  There  is  one  in  "  Figaro"  which  lasts  forty  minutes 
and  includes  some  eight  or  ten  pieces  of  music.  The  form  is  referred 
to  here  merely  because  it  represents  an  additional  phase  of  vocal  writ- 
ing, the  study  of  which  by  composers  has  been  of  use  in  ascertaining 
how  far  it  is  practicable  to  go  in  music  in  the  simultaneous  represen- 
tation of  opposite  determinations. 

List  of  Illustkations. 

1.  The"ErI  King,"  Schubert. 

2.  "Gretchen  at  the  Spiuniu5  Wlieel,"  Schuljjrt 

3.  "  He,  tfie  best  of  all,  the  noblest,"  Schumann. 

4.  "Thou  ring  upon  my  finger,"  Schnmaim. 

5.  "Moonlight."  Schumann. 

G.  "  Waldesgesprach,"  Schumann. 

7.  "  But  the  Lord  is  mindful  of  fl;s  own,"  from  "  St.  Paul,"  Mendelssohn. 

8.  "  Elsa's  balcony  song," 'Ye  Wandering  Brcez23"  from  "Ljhengrin,"  Wagner. 


THE  OPERA  AND   ORATORIO.  135 


LESSON     FOKTY-ONE. 

THE  OPERA  AND  ORATORIO. 

Oratorio,  as  is  well  known,  is  a  musical  worlv  for  solo  voices,  chorus, 
and  orchestra,  on  a  sacred  subject.  It  is  sung  without  action,  although 
the  te.xt  is  conceived  in  a  dramatic  spirit  if  not  strictly  in  dramatic 
form.  Of  dialogvie  oratorio  has  very  little  if  any.  The  nearest  ap- 
proach to  it  is  in  passages  where  an  angel  or  other  speaker  delivers  a 
message  and  a  reply  is  made,  but  this  is  rare.  The  text  deals  with 
the  large,  the  heroic  or  religious  interests,  and  not  with  those  of  every 
day  life.  Indeed,  oratorio  was  in  the  beginning  an  actual  part  of  re- 
lio-ious  service.  This  was  so  with  Bach's  church  cantatas,  and  the  Pas- 
siou  Music. 

HandePs  oratorios  were  essentially  concert  works.  As  we  shall 
see  hereafter  (Iti  Chapter  XLTTT),  Handel  composed  operas  for  some 
forty  years  before  he  began  to  write  oratorios,  and  during  most  of  that 
time  had  his  own  sina:ers  and  theater.  So,  wlien  actuated  bv  some 
fortunate  instinct,  or  by  the  neglect  of  the  public,  he  began  to  write 
oratorio,  he  changed  his  style  of  composition  but  very  little.  The  use 
of  an  English  text,  the  vernacular  of  his  audience,  no  doidjt  had  a 
certain  tendency  to  increase  his  verbal  accuracy  in  adapting  his  music 
to  it.  But  such  airs  as  "  O  had  I  JubaFs  lyre"  from  ".Joshua,''  and 
"  Reioice  orreatlv  "  from  the  "  Messiah"  are  almost  exactlv  of  the  same 
cut  as  the  bravoura  arias  in  his  innumerable  operas.  So,  also,  very 
many  of  the  smaller  choruses  are  revamped  from  some  of  his  former 
works. 

Still,  when  all  this  has  been  said,  the  difference  between  Handers 
oratorios  and  his  operas  is  very  great;  not  so  much  in  exceptional 
moments  as  in  the  average  of  the  oratorio,  which  is  on  a  higher  and 
more  serious  level  than  the  opera.  Then,  too,  between  Handel's  opera- 
music  and  his  text  there  was  often  a  certain  contradiction,  or  at  least 
what  seems  to  be  such  in  our  day.  The  contrapuntal  sjjirit  was  the 
habit  of  Handel's  musical  thought,  and  this  spirit  in  its  essential  nature 
is  suited  to  grave  and  elevated  discourse.  So  when  Handel  fell  into 
the  sacred  vein,  it  was  not  so  much  a  change  of  style,  a  conversion,  or 


136  HOW  TO   UNDERSTAND   MUSIC. 

a  rising"  to  a  new  plane  of  work,  as  a  choice,  fortunate  though  somewhat 
hite,  of  a  text  suitable  to  the  nature  of  his  musical  phantasy. 

Yet  when  this  change  was  made  and  tlie  sacred  words  applied,  and 
all  the  best  and  most  elevated  of  his  previous  efforts  fished  up  from 
their  waters  of  oblivion  and  stood  upon  honest  English  feet  in  march- 
ing order,  like  EzekieFs  dry  bones,  which,  also,  the  vrord  of  the  Lord 
had  clothed  upon, — even  then  it  is  but  rarely  sacred  music  that  comes 
to  utterance,  but  concert  music  still;  music  to  attract  and  please,  music 
to  elevate  and  edify; — but  iu:)t  music  with  wliich  to  worship.  To  de- 
monstrate this  position  would  take  us  too  far.  It  must  suffice  here  to 
call  over  the  names  of  some  of  these  works,  leaving  the  student  to  con- 
firm or  overthrow  our  position  at  his  leisure.  They  are  "Solomon," 
"Joshua,"  ".fudas  Maccabeus,"  "Israel  in  Egypt,"  "Esther,"  "De- 
borah," "  Susannah,"  "  Theodora,"  etc.  In  some  of  these  he  reaches 
great  heights.  \\\  particular  is  this  the  case  in  "  Israel  in  Egypt" 
where  those  great  double  choruses  must  have  been  inspired  by  some 
idea  of  what  his  great  contemporary  Bach  had  done  at  Leipsic  in  his 
Passions  Music. 

Oratorio  had  at  least  one  other  decided  advantage  for  Handel,  and 
for  the  development  of  music  after  him.  It  put  the  emphasis  on  the 
chorus,  and  not  on  tlie  solo.  •  The  operatic  chorus  is  small  at  best.  It 
is  the  peasantry  of  singers  and  must  on  no  account  usurp  a  leading- 
interest  in  the  drama.  But  in  music  there  is  a  sense  in  which  the  Latin 
proverb  is  true.  Vox,  popuU  vox  del — the  voice  of  the  people  is  the 
voice  of  God. 

Th-ese  Handel  choruses  have,  indeed,  a  great  advantage  in  their 
texts,  which  for  the  most  part  are  well-known  passages  of  scripture.  The 
familiar  word  of  some  Biblical  war-crv,  such  as  "  Sin"-  to  the  Lord,  for 
He  hath  triumphed  gloriously,"  "  Worthy  is  the  Lamb,"  etc.,  awakens 
the  historical  associations  that  belong  to  it  ;  these  join  in  with  the  in- 
herent majesty  and  impressiveness  of  the  music,  the  effectiveness  of  its 
instrumentation  and  especially  the  deep,  thrilling,  pervading  support 
of  the  organ,  and  all  combine  in  introducing  music  to  the  public  in  a 
new  light,  tliat  of  the  sublime. 

Tiien,  for  once,  it  was  permitted  the  almost  inspired  master  to 
write  with  headlono-  haste  all  throuo-h  that  blessed  fortnight,  one  great 
work,  which  stands,  and  will  long  stand,  as  a  ne  i^lus  ultra  of  musical 
effort  in  the  direction  of  the  pathetic,  the  inspiring,  and  the  sublime. 
The  "  Messiah  "  draws  a  part  of  its  impressiveness,  no  doubt,  from  its 
noble  text,  which  traverses  the  entire  range  of  the  most  precious 
religious  associations.     And  this  also  helped  the  composer,  who    here. 


THE   OPERA   AND   ORATOKiO.  ,  13r 

at  tiiues,  rises  almost  aljove  hiiiiself.  But  to  wliatever  sourco  we  may 
attribute  its  power  over  us,  it  is  certain  that  in  Handel's  "  Messiah  " 
we  have  a  work  without  which  our  idc^a  of  music  wouhl  1)C  much  hjwcr 
ttian  it  is,  and  the  worhl  wouhl  l)e  l)y  mucii  the  loser. 

In  the  Bach  "Passions  Music"  we  have  a  different  work,  and  one 
which  is  decidedly  the  expression  of  worship.  But  of  this  subject 
more  is  said  in  chapter  XLII.  Suffice  it  to  point  out  here  that  oratorio 
is  the  field  in  which  music  has  been  furnished  with  the  occasion  and 
ihe  means  for  exercising  itself  to  its  farthest  bounds  in  the  direction 
of  the  elevated,  the  heroic,  and  the  sublime. 

Opera  is  of  the  world,  worldly.  And  this  for  two  reasons  :  As  a 
drama  it  deals  witli  life,  idealized,  perhaps,  sometimes  made  ludicrous, 
hut  in  any  case  with  Jife.  Its  trinity  in  unity  is  "  the  world,  the  flesh, 
and  the  devil."  ^Ye  have  only  to  run  over  the  librettos,  if  we  have 
never  seen  the  pieces  for  ourselves,  to  find  in  almost  every  one  of 
them  "  the  prince  of  this  world"  enthroned.  Read  the  books  of  "  Don 
Giovanni,"  "Figaro,"  "Robert  le  Diable,"  "Faust,"  "II  Trovatore," 
"  II  Traviata,"  and  almost  all  the  rest.  Then,  in  the  second  place, 
opera  stands  for  an  amusement.  The  opera  composer  must  meet  his 
public.  They  do  not  go  to  the  play-house  to  hear  sermons,  nor  to 
^ing  psalms,  but  to  hear,  to  enjoy,  and  to  be  merry. 

The  o})era  is  the  great  field  in  which,  sooner  or  later,  all  worldly 
emotion  comes  to  expression.  As  a  form  of  art  it  is  as  blessed  in 
abundant  means  as  the  oratorio.  For  although  it  lacks  the  massive 
chorus,  it  has  a  hiro-er  number  of  trained  singers,  and  the  advantas^e  of 
action  and  spontaneous  sympathy  with  the  audience,  as  helps  to  inspi- 
ration. Librettist,  composer,  scene-painter,  and  singers,  all  combine  to 
place  before  us  a  form  of  art  which  has  in  it  every  possible  pleasure  of 
the  senses  of  hearin<>-  and  sio-ht,  and  alona;  with  this  much  of  a  finer 
and  higher  character. 

From  the  very  nature  of  the  stage  and  the  drama,  opera  was  im- 
possible in  Handel's  day.  The  prophet  and  founder  of  the  modern 
opera,  Gliick,  wrote  his  great  works  more  than  thirty  years  after  Handel 
had  laid  down  his  operatic  pen  forever.  Counterpoint  needed  to  relax 
its  severity  somewhat  in  favor  of  the  weakness  of  the  flesh  in  chamber- 
maids and  valets  upon  the  stage.  Fugue,  also,  might  find  artistic  jus- 
tification in  a  fire,  where  the  first  engine  company  on  the  ground  gave 
out  the  theme,  the  next  answered  it,  etc.,  but  for  guests  at  an  evening 
party  it  is  but  a  tedious  form  of  utterance.  The  opera  needed  the  peo- 
ple's song.  Gliick  took  a  great  ste[)  in  the  true  direction,  and  estab- 
lished the  canons  of  operatic  work.     Mozart  went    beyond    him  ;  and 


138  HOW  TO   UNDERSTAND   MUSIC. 

Weber  beyond  liim.  In  "  Der  Freischiitz "  we  have  the  very  peo- 
ple's song  itself. 

Besides  the  people's  song,  o^Dera  needed  the  neat  and  pleasing 
melodic  and  harmonic  forms  of  Haydn  and  Mozart.  With  these  it  be- 
came fully  equipped  in  its  department,  and  went  forth  under  its  cap- 
tains, such  as  Rossini,  Meyerbeer,  Weber,  Bellini,  Donizetti,  Auber, 
Verdi,  and  last  of  all,  Wagner,  to  conquer  the  world  of  secular 
music. 

In  its  nature  as  a  form  of  drama,  dealing  with  men  of  the 
present  or  the  immediate  past,  who  in  any  case  are  presented  on  the 
stage  as  living  before  us,  and  in  ranging  through  all  varieties  of  plays, 
from  roaring  farce  up  through  comedy  to  heroic  and  elevated  phases 
of  life  (though  these  are  always  given  from  what,  in  stage  parlance,  one 
might  call  the  "  practicable  "  side  as  opposed  to  the  "  impractical  "  of 
oratorio),  the  oj^era  calls  upon  music  for  every  form  and  phase  of  its 
pleasant  modulation,  all  its  love  and  its  hate,  its  rejoicing  and  its  sor- 
row. And  what  the  voice  can  not  do,  it  offers  to  complete  through  the 
unrivalled  riches  of  the  modern  orchestra;  and  in  every  time  of 
"trouble,"  where  music,  as  such,  fails  of  power,  it  produces  the 
"  sheejD-skIn,"  its  diploma  of  powers  yet  unexpended. 

Thus  the  opera  and  oratorio  together  present  us  on  the  whole 
with  every  result  that  has  been  reached  in  the  effort  to  clothe  words 
with  music,  and  are  to  be  reckoned  among;  the  liio'hest  achievements 
in  music.  Yet,  even  in  these,  all  that  was  said  in  the  beginning  con- 
cerning the  influence  of  poetry  upon  music  holds  true;  and  all  the 
limitations  of  vocal  music  as  a  form  of  art  are  here  to  be  found  illus- 
trated. We  have  on  one  side  Poetry,  of  which  the  practicable  libretto 
is  but  a  very  small  part.  And  on  the  other  side  Music,  of  which  opera 
and  oratorio  are,  to  be  sure,  a  larger  part,  yet  still  lacking  very  much 
of  the  elevated  sentiment  and  the  epic  sweep  of  pure  music,  as  found 
in  the  symphony.  Nevertheless,  vocal  music  retains  for  itself  two 
great  points  of  merit:  It  is  the  most  understandable  form  of  music, 
for  even  the  unmusical  can  follow  the  words.  And,  second,  through 
the  effort  to  unite  music  to  poetry,  and  to  extend  its  range  to  an 
equal  compass,  the  true  relation  of  music  to  emotion  has  been 
worked  out,  and  instrumental  music  itself  has  gained  in  freedom  of 
form  and  range  of  expression. 


Paet  Eighth. 


HISTORICAL  AND  MISCELLANEOUS 

SKETCHES. 


CHAPTEE     FORTY-TAYO. 

JOHN   SEBASTIAN   BACH. 

Across  this  interval  of  nearly  two  centuries  Bach's  life  appears  to 
have  been  very  dull  and  uneventful.  He  was  born  at  Eisenach,  Prus- 
sia, March  21,  1685,  as  Ritter  says,  "  a  musician  of  the  fifth  generation 
of  one  of  the  most  musical  families  ever  produced  by  any  country." 
His  entire  life  passed  in  the  burgher-like  simplicity  of  the  middle  class 
German.  His  mother  died  when  he  was  very  young;  and  before  he  was 
ten  years  old  he  had  lost  Jiis  father  also.  He  then  went  to  his  elder 
brother,  John  Christopher,  organist  at  Ohrdruff,  who  gave  him  his  first 
lessons  in  piano  playing.  Bach  had  scarcely  more  than  made  a  begin- 
ning (which  must  have  been  exceedingly  easy  to  so  gifted  a  nature  as 
his)  when  he  cast  his  covetous  eyes  on  a  paper-bound  volume  contain- 
ing pieces  by  Frohberger,  Kerl,  Pachelbel  and  others.  But  such 
treasures  of  art  were  not  to  be  trusted  to  a  bov  not  vet  twelve  rears 
old — at  least  not  if  the  crusty  John  Christopher  could  help  it — so  he 
logked  the  book  in  a  corner  cuj:)board,  and  gave  himself  no  further 
anxiety  on  the  subject.  But  the  little  John  Sebastian  was  of  a  perse- 
vering kind,  as  we  shall  see  before  we  have  done  with  him,  and  his 
little  hand  proved  able  to  push  through  the  lattice  work  door  and  reach 
tiie  precious  book.  But  how  to  make  it  his  own.  Why  copy  it,  to  be 
sure.  But  the  awful  John  Christopher  !  "  Do  it  at  night,"  said  tlie 
tempter.  "  But  I've  no  candles,"  said  the  boy.  "The  full  moon." 
"Sure  enough,"  said  plucky  John  Sebastian,  "free  to  all."  So  for  six 
lona;  months  every  brio:ht  niHit  found    him  diliffentlv  coiivinn'  the  for- 

139 


140  HOW  TO  UNDERSTAND  MUSIC. 

bidden  treasure — copying,  we  may  he  sure,  witli  rare  patience,  and  a 
singularly  line  iiand  for  a  boy,  for  paper  was  scarce.  Alas!  just  as  the 
task  was  done,  in  an  unlucky  moment  his  brother  found  him  out,  and 
not  only  confiscated  the  original  but  the  copy  as  well,  and  the  poor 
John  Sebastian  had  only  the  comforting  recollection  that  at  least  he 
"  had  done  his  best." 

After  a  while  the  brother  died,  and  the  boy  was  sent  to  the  "  gym- 
nasium" (or  grammar  school)  at  Luneberg,  and  was  soprano  singer  at 
St.  MichaeTs  church.  While  here  he  lost  no  opportunity  of  hearing 
good  j^layers.  On  one  occasion  he  went  to  Hamburg  (about  forty  miles 
away)  to  hear  Reinken,  who  was  at  that  time  a  famous  organist,  and 
again  to  Zell  to  hear  the  Prince's  band  there,  arid  especially  to  l)ecome 
better  versed  in  the  French  taste  that  prevailed.  All  the  while  he  ap- 
plied himself  so  diligently  to  the  study  of  the  organ  and  piano  that  at 
the  age  of  eighteen  (in  1703)  we  find  him  widely  recognized  as  an  un- 
doubted master,  and  appointed  court  musician  at  Weimar.  The  fol- 
lowing year  he  became  organist  at  the  new  church  of  Arnstadt — pro- 
l)ably  because  he  could  pursue  his  taste  for  the  organ  better  there,  for 
his  duties  as  court  musician  involved  only  his  services  as  violinist.  In 
his  new  place  he  manifested  the  diligence  that  had  all  along  character- 
ized him.  Wherever  in  all  the  country  around  there  was  a  celebrated 
oro-a,nist,  there  would  Bach  be  sure  to  go  in  order  to  discover  the  charm 
and  secret  of  his  power.  He  went  on  foot  to  Lubeck  to  hear  Bux- 
tehude,  a  distinguished  master  there;  and,  too  poor  to  take  lessons,  he 
even  remained  a  full  quarter  of  a  year  a  secret  hearer  of  that  organist. 
All  this  time  he  diligently  exercised  himself  in  organ  and  piano  play- 
ing, and  in  all  schools  of  composition.  He  studied  with  the  closest 
care  all  the  older  master  works  he  could  lay  his  hands  on.  He  fervently 
desired  to  make  a  longer  art  journey  into  Italy,  but  poverty  prevented. 
By  degi'ees,  however,  he  possessed  himself  of  the  chief  works  of  Pal- 
estrina,  Caldara,  Lotti,  and  the  other  best  writers  of  the  Italian  school. 
He  had  already  learned  the  Italian  art  of  singing,  from  Italian  singers 
he  had  known  in  Hamburg. 

With  such  diligence  no  wonder  his  fame  spread  abroad  as  that  of 
a  master.  Accordingly  we  find  him  soon  back  to  Weimar  as  Court 
organist,  and  later  (1717)  as  chief  music  director.  Here,  doubtless,  he 
composed  many  of  his  chief  works  for  the  organ  and  his  orchestral 
suites. 

About  this  time  Marchand,  Handel's  master,  died  at  Halle,  and 
Bach  was  invited  to  succeed  him.  He  even  went  to  Halle  to  prove  his 
qualifications,  but  for  some  reason  did  not  take  the  place.     Sometime 


JOHN    SEBASTIAN   BACH.  Ui 

Ijel'ore  this  Marchand  and  Bach  had  been  invited  to  play  in  contest 
before  the  king  at  Dresden,  but  at  the  hist  moment  Marcliaiurs  courao-e 
failed  him,  for  he  had  in  some  way  found  out  that  the  young  German 
had  an  unparalleled  fluency  of  ideas  combined  with  rare  skill  in  treat- 
ment; so  Bach  amused  and  astonished  for  hours  the  great  audience 
gathered  by  his  wonderful  performances.  Passing  over  Bach's  service 
as  court  music  director  under  Prince  Leopold  of  Anhalt-Cothen  (extend- 
ing through  six  years),  and  his  journey  to  Hamburg  to  play  the  oro-aii, 
where  he  excited  the  greatest  wonder  in  the  breast  of  the  veteran 
Reinken  by  his  masterly  improvisations  on  the  chorale,  "  An  JVosser- 
flussen  Babyloii^s^''''  we  come  to  the  year  1733  when  Bach  was  appointed 
Cantor  to  the  St.  Thomas  school  in  Leipsic,  where  he  spent  twentv-six 
fruitful  and  peaceful  years.  What  good  came  of  this  quiet  life  will 
appear  when  we  come  to  speak  more  particularly  of  his  works.  The 
chief  episode  of  his  Leipsic  life  was  his  visit  to'  Frederick  the  Great,  at 
Potsdam,  in  the  year  1747.  This  visit  was  paid  only  after  the  most 
pressing  invitations  from  the  king,  expressed  through  Bach's  second 
son,  Carl  Philip  Emanuel,  who  was  at  that  time  chapel  master  to  the 
Princess  Amelia.  King  Frederick  was  a  flute  player,  and,  like  the 
most  of  the  breed,  thought  himself  a  fine  one.  So  every  night,  when 
not  too  busy  with  cares  of  state,  he  was  accustomed  to  get  his  orchestra 
together  "and  astonish  them  with  his  flute  virtuosity.  In  this  way  he 
imagined  himself  greater  than  a  king — a  God-endowed  artist.  One 
night  just  as  the  musical  hilarity  was  about  to  begin,  a  servant  brought 
him  the  list  of  arrivals.  "Gentlemen,"  said  the  king,  solemnly,  "  Old 
Bach  is  come!"  So,  all  stained  with  travel  and  tuml)led  and  torn  with 
the  horrible  stage-coaching  of  those  days,  with  never  a  moment  for  a 
hasty  bite  of  something  to  eat,  with  scarcely  a. glass  of  beer  to  soothe 
the  inner  man,  the  great  king  was  confronted  by  a  greatei',  the  king  of 
the  organ,  John  Sebastian  Bach.  Bach,  taken  from  one  room  to 
another  by  the  king  and  assembled  musicians,  was  compelled  to  i.ispect 
and  play  upon  every  one  of  the  numerous  Silberman  pianos  in  the 
palace.  After  Bach  had  improvised  for  a  while  he  asked  the  king  to 
give  him  a  subject  in  which  to  work  out  a  fugue,  and  the  learning  dis- 
played in  the  work  was  highly  admired  by  all  present.  H(i  then  selected 
a  suitable  subject  and  worked  out  extempore  a  fugue  in  six  o1)ligato 
parts. 

The  next  day  they  made  the  tour  of  all  the  organs  in  Potsdam,  in 
in  order  that  the  King  might  hear  his  organ-playing.  On  his  return  to 
Leipsic,  Bach  composed  tlie  subject  he  had  received  from  the  King  m 
three  and  six  parts,  and  had   it   engraved    under   the  title  "  Miisikal- 


142  HOW  TO   UNDERSTAND   MUSIC. 

isc/ies  Opfer''''  (musical  offering),  and  dedicated  it  to  the  inventor — 
certainly  a  neat  and  proper  thing  to  do,  and  for  which  1  hope  the 
rather  stingy  King  had  the  grace  to  make  a  fit  acknowledg- 
ment. , 

Bach  not  only  used  his  eyes  enormously  in  reading  and  writing  an 
immense  mass  of  works  in  early  youth,  seriously  undermining  his  sight 
by  the  moonlight  writing,  but  in.  many  cases  he  had  engraved  his  own 
compositions.  In  consequence  of  all  this  application  through  more 
than  sixty  years,  at  last  his  eyes  became  much  inflamed,  and  finally  he 
lost  his  sight  altogether.  This  so  weighed  upon  his  spirits  that  he  con- 
tinued to  decline  for  fully  half  a  year,  and  finally  expired  July  28th, 
1750. 

Bach  was  twice  married.  The  first  wife  had  seven  children;  the 
second  thirteen,  of  whom  eight  were  sons.  Several  of  his  children 
were  music  d,  and  one  of  them,  Carl  Philip  Emanuel,  was  the  forerun- 
ner of  the  Haydn  and  Mozart  school  of  music.  His  theory  was  that 
the  instrument  must  be  made  to  sing;  accordingly  we  find  him  content 
with  shorter  forms  and  less  learned  musical  phraseology  than  that 
adopted  by  his  father,  whom,  on  his  own  ground,  he  modestly  confessed 
liimself  totally  incapable  of  rivalling. 

As  a  piano  player  Bach  was  one  of  the  greatest  of  his  ti  me.  His 
touch  was  silvery,  distinct  and  expressive,  his  legato  playing  extremely 
perfect,  and  his  contrasts  of  power  remarkable  for  tliat  day.  He  had 
a  short,  thick  hand,  and  Prof.  Karl  Klauser  (of  the  seminnry  at  Farm- 
ington,  Conn.)  says  that  as  near  as  he  can  make  it  out  from  Forkel's  life, 
Bach's  touch  must  have  been  much  the  same  as  that  employed  by  Dr. 
Wm.  Mason — a  touch  which  then,  as  now,  produced  the  most  lovely 
and  varied  tones  from  the  piano-forte. 

As  an  organ  player  Bach  has  had  great  injustice  done  him  by  those 
who  suppose  that  every  time  he  sat  down  to  the  organ  he  drew  all  the 
stops  and  "  blazed  away  "  by  the  hour  on  the  full  organ.  Not  he.  The 
organ  builders  used  to  complain  of  his  audacity  in  making  combina- 
tions. They  said  he  put  stops  together  in  the  most  unheard  of  and 
unorthodox  manner.  And  all  this  is  easy  enough  to  understand. 
Bach  was  first  a  violinist,  and  there  is  no  record  of  a  violinist  who 
could  not  appreciate  melody.  He  was  full  of  melody.  Consider  fur- 
ther that  he  was  a.n  orchestral  writer  of  rare  power — quite  an  innova- 
tor in  his  day,  coloring  his  scores  to  the  full  scope  of  the  instruments 
then  employed.  Besides,  his  very  organ  works  themselves  contradict 
this  notion,  for  the  full  organ  pieces  do  not  make  up  more  than  half 
the   volume   of  them;  but  we  find  trios  for  two  claviers  and  pedale, 


JOHN   SEBASTIAN   BACH.  14:5 

and   variations    which  you  may   be  sure  Bach  "  varied"  in  combination 
no  less  than  in  harmony  and  melody. 

While  Bach  was  Cantor  of  the  St.  Thomas  Church  he  h:id  two 
clioirs  and  an  orchestra  at  his  disposal.  Music  was  no  small  pai-t  of 
the  service.  The  hearty  sin_2,'inij  of  the  Gei-man  peasants  and  scliool 
children  in  the  simple  chorals,  which  Bach  accompanied  with  such 
wonderful  harmonies,  and  the  well-trained  choirs,  combined  to  alford 
the  composer  rare  facilities  for  the  illustration  of  the  musical  ideas^ 
with  which  liis  solid-looking  old  head  teemed.  So  on  every  feast  day 
he  broug-ht  out  a  new  Cantata,  a  psalm  set  to  music  for  one  or  two 
choirs,  orchestra  and  organ,  now  and  then  a  verse  of  a  psalm-tuno  in- 
terspersed, in  which  everybody  took  part,  and  the  freest  use  of  solos 
that  the  subject  demanded.  Of  these  works  about  seventy  have  been 
pul)lished,  ranging  from  twenty  minutes  in  length  to  an  hour — works 
which  suggested  Mendelssohn's  "  Hyinii  of  Praise,"  "  As  Pants  the 
Heart,"  etc. 

To  be  sure  i)ut  few  of  the  common  people  knew  what  wonderful 
things  they  were  hearing.  Robert  Franz  tells  that  he  once  saw  a  very  old 
man  who  was  sexton  of  the  St.  Thomas  Church  while  Bach  was  there. 
"And  what  did  they  think  of  his  works?"  asked  the  enthusiastic  and 
reverential  Franz.  "Mr.  Bach's  compositions,"  said  the  sapient  critic, 
"  were  very  much  alike." 

The  greatest  work  of  this  period  was  Bach's  "  Passions  M  usic," 
according  to  St.  Matthew.  This  consists  of  about  two  hours'  music, 
solos,  choruses,  interspersed  stanzas  of  liyinn  tunes  descriptive  of  the 
passion  of  the  garden  and  the  cross.  It  was  written  for  and  first  given 
oi  Good  Friday  evening  in  1729,  and  does  not  seem  to  have  been 
given  again  until  Mendelssohn  exhumed  it  a  hundred  years  later,  and 
gave  it  on  Good  Friday  1829.  Since  then  it  lias  been  frequently  done 
in  Germany,  and  always  on  Good  Friday  in  the  St.  Thomas  Church  in 
Leipsic.  This  work  has  become  much  admired  in  London,  and  was  nib- 
bled at  bravely  hy  the  Handel  and  Haydn  Society  in  Boston  at  their 
Festival  in  1871,  and  finally  given  entire  in  1877,  largely,  be  it  said, 
through  the  perseverance  of  Mr.  Dwight  and  two  or  three  other  enthusi- 
astic admirers  of  Bach. 

When  given  at  Leipsic,  and  as  a  religious  service,  the  Passion 
Music  is  full  of  pathos  and  beauty.  Let  us  imagine  a  vast,  barn-like 
clmrch,  dimly  lighted,  with  two  galleries,  one  al)ovo  the  other.  Far 
up  in  the  upper  gallery,  with  never  a  soul  in  sight,  we  hear  the  voices 
of  the  choirs  and  organ.  The  choirs  occupy  opposite  galleries.  At  the 
appointed  hour  the  gentle  strain  begins,  "Come,  ye  daughters,  weep 


144  HOW  TO   UNDERSTAND   MUSIC. 

for  anguish,"  and  presently  breaks  in  the  penetrating  voice  of  a  couple 
hundred  school  children,  singing  independently  the  choral,  "  O  Lauab 
of  God,  all  blameless,"  a  tone  and  words  as  familiar  there  as  the  Old 
Hundredth  here.  The  effect  is  totally  indescribable.  The  gentle  and 
cultivated  tones  of  the  choir  as  they  thread  the  graceful  strains  of  the 
counterpoint,  the  reed-like  and  lusty  tones  of  the  boys'  voices,  the 
coloring  of  the  orchestra,  and  the  sombre  majesty  of  the  organ — all  this 
with  never  a  performer  visible;  you  sit  thei-e  in  the  darkness  and  from 
some  far-away  shore  the  sounds  come  to  you  and  overwhelm  you 
with  waves  of  music.  i\.non  the  chorus  dies  away  and  a  piercing  haut- 
boy takes  up  a  charming  theme  which  a  solo  voice  interprets,  "I'll 
watch  with  my  dear  .lesus,"  and  softly,  yet  richly,  the  chorus  responds, 
"  So  slumber  shall  my  sins  befall." 

And  further  on  the  whole  congregation,  cho-irs  and  instruments, 
all  in  tender  devotion,  take  up  the  strain  — 

"O  Head,  all  bruised  aud  wouaded, 
HuQg  up  to  brutal  scorn  ! 
O  Head  with  shame  surrounded 
"With  crown  of  cruel  thorn  ! 
O  Head,  to  honor  wonted, 
To  splendor  all  divine, 
Now  outraged  and  affronted : 
All  hail,  dear  master  mine!" 

This  indeed  is  religious  art!  Not  these  the  utterances  of  the 
bright  concert  room,  for  the  applause  of  the  unthoughtful  crowd;  but 
here  the  Christian  heart  meditates  on  the  mystery  of  redemption,  and 
to  celebrate  that  wondrous  love  tearfully  brings  every  offering  that 
the  musical  art  affords. 

Mr.  John  Hullah,  in  his  lectures  on  "  The  Transition  Periods  of 
Music,"  holds  that  Bach's  obscurity  of  expression  is  such  as  will  for- 
ever debar  him  from  wide  popularity.  This  way  of  putting  it  does  not 
seem  to  me  fortunate.  "  Obscurity  of  expression"  is  not  properly  pre- 
dicable  of  Bach.  Nor  has  he  any  lack  of  melody.  On  the  contrary, 
he  is  absolutely  the  most  inexhaustible  of  all  in  this  direction.  It  can 
not  be  denied  that  Bach  carried  the  intellectual  in  music  beyond  the 
point  where  technical  devices  assist  the  expression  of  emotion — at  least 
for  our  day.  But  let  us  not  forget  that  while  there  are  now  few  musi- 
cians who  can  handle  contrapuntal  forms  well,  in  Bach's  day  this  was 
a  common  accomplishment,  and  formuhe  of  expression  which  in  his 
day  were  clear  enough,  aud  dramatic  enough-  "A"'^-  in  the  li-'hi  of  this 
excitable  nineteenth  century,  too  cold. 


JOHN    SEBASTIAN    BACH.  I45 

And  liowever  Bacli  may  stand  with  the  public,  lie  has  been  the 
great  inspiration  to  all  the  best  and  most  poetic  of  later  musicians, — 
as  for  instance  Mendelssohn,  Schumann  and  Chopin — and  this,  across 
a  century  or  so,  is  surely  groat  honor.  To  the  organist  and  violinist 
Bach's  works  are  at  once  the  best  exercises  for  developing  his  art  as  a 
player,  and  the  freshest  and  most  characteristic  pieces  for  his  instru- 
ment. Yet  not  all  Bach's  compoe'tions  are  great.  But  in  the  mass 
(the  manuscripts  make  a  pile  over  two  feet  high,  and,  it  is  computed, 
would  occupy  a  copyist  more  than  twenty  years  to  copy  them — 
although  this,  I  dare  say,  is  making  it  rather  a  fat  thing  for  the  copy- 
ist) masterworks  of  the  purest  conception  are  to  be  found,  and  that  in 
laro-e  numbers. 

T  can  not  sum  up  Bach's  works  better  than  in  the  words  of  Wilhclm 
Rust,  in  Mendel's  "  C onversatioixs-Ijexicon^''  article  "  Bach." 

"In  all  these  works,  from  the  greatest  and  richest  in  compass  clear 
down  to  the  smallest  range  of  musical  formations.  Bach  maintained  his 
imperishable  glory  as  the  lofty  representative  of  the  Inner  and  Spiritual 
in  art,  as  the  boldest  and  mightiest  herald  of  the  ideal  in  art  works. 
The  great  contrapuntal  skill  which  holds  performer  and  hearer  in  the 
chains  of  the  most  perfect  polyphony,  the  mastership  of  the  works  in 
their  organic  development,  and  their  value  and  thankfulness  for  the 
purposes  of  study,  serve  only  as  means  for  expressing  his  ideal.  All 
these  are  the  stuff  through  which  he  expresses  the  spiritual.  The  purely 
technical,  therefore,  can  in  no  way  be  regarded  as  Bach's  chief  great- 
ness, although  many  still  suppose  so.  His  greatness  rests  not  in  the 
ingenious  forms  of  which,  to  be  sure,  he  is  master,  so  that.no  one  before 
or  since  has  expressed  himself  in  them  so  easily  and  naturally,  but 
rather  in  the  noble,  free  and  lofty  spirit,  which  in  its  mighty  flight  is 
able  to  rule  and  control  his  thoughts  and  perceptions,  and  with  equal 
ease  strike  the  strings  of  a  sought-for  emotion,  or  rise  into  the  bound- 
less fields  of  free  music.  Deep  moral  earnestness  is  the  very  founda- 
tion of  his  music,  and  glorifies  even  his  playful  creations;  {esthetic 
loveliness  adds  itself  to  him,  as  it  were,  of  its  own  accord.  Only  such 
a  strength,  eminent  in  depth  of  thought,  and  equally  skillful  in  expres- 
sion, could  possibly  have  produced  such  colossal  structures  and  giant 
forms  as  Bach  has  left  ns  in  his  great  church  works,  which,  in  all  their 
greatness,  are  created  out  of  the  deepest  and  most  trustful  piety." 

10 


146  HOW  TO    UNDERSTAND   MUSIC. 

♦ 

Programme  of  Bach  Illustrations. 

1.  (Moderately  Difficult ) 

1.  Prelude  and  Fugue  in  G  minor,  "  Clavier"  I.  No.  2. 

2.  Loure  in  G,  arranged  by  Heinze. 

0.  Sarabande  in  A,  No.  5,  Bach  "Favorite  Pieces,"  Peters,  No.  231. 

4.  Gavotte  in  D,  No.  3  in  the  same. 

5.  Song,  "  My  Heart  ever  Faithful." 

6.  Invention  in  E  minor.  No.  7  of  the  3-part  Inventions. 

7.  Gavotte  in  D,  arranged  by  Mason. 

3.  {Difficulty  Employing  the  Piano,  Organ,  and  Violin.) 

1.  Chromatic  Fantasia  and  Fugue. 

2.  Air  for  G,  string,  (As  played  by  Wilhelmj). 

3    Courante  in  E  minor.  No.  7,  from  Peters,  No.  231. 

4.  Organ  Prelude  in  B  minor,  Organ  works  Vol.  II,  No.  10. 

5-  Chaconne  for  violin  Solo. 

6.  Grand  Prelude  and  Fugue  In  G  minor,  Organ  works.  Vol.  II,  No  4. 

7.  Meditation  upon  Bach's  1st  Prelude,  by  Ch.  Gounod,  For  organ,  piano,  ana 

violin. 

3.  {For  Piano  and  Voice.) 

1.  Cbromatic  Fantasia  and  Fugue. 

2.  Song,  "My  Heart  ever  Faithful. 

3.  Invention  in  F,  No.  8,  two  part. 
Sarabande  in  A. 

Invention  in  E  minor. 

Gigue  in  G,  (No.  2  in  Peters,  No.  331). 

4.  Slumber  Song  from  Christmas  Oratorio. 

5.  Invention  in  C  minor,  3  part. 
Loure  in  G,  Ileinze. 

Siirabande  in  F,  No.  G,  Peters,  No.  321. 
Echo  in  B  minor,  No.-  8  of  ihe  same. 
Gavotte  in  E  major,  Arr.  by  Tours. 

6.  Echo  Aria  from  the  Christmas  Oratorio. 

7.  Grand*  Organ  Fugue  in  G  minor,  Arranged  for  piano  by  Liszt 


GEORGE  FREDEIUCK  ilA^y'DEL.  147 


CHAPTER     FORTY-THREE. 

GEORGE   FREDERICK   HANDEL. 

At  Halle,  in  Lower  Saxony,  Feb.  23,  1685,  was  born  Bach's  great 
contemporary,  and,  in  after  times,  rival,  Geo.  Frederick  Handel.  His 
father  was  a  ])hysician  and  surgeon.  The  little  George  early  showed 
an  immense  desire  for  music,  and  that  to  his  poor  father's  discomfiture; 
"For,"  said  the  judicious  sire,  "music  is  an  elegant  art  and  fine 
amusement,  but  as  an  occupation  it  hath  little  dignity,  having  for  its 
object  nothing  better  than  mere  entertainment  and  pleasure."  So  he 
kept  the  boy  out  of  school  lest  he  should  learn  to  sing,  and  taught  him 
his  Latin  and  humanities  at  home.  But,  by  connivance  of  mother  or 
nurse,  they  say,  the  boy  contrived  to  get  a  dumb  spinet  hid  away  in  the 
garret,  and  there,  by  night,  taught  himself  to  play.  The  "  dumb  spinet" 
was  a  very  small  piano-forte,  of  which  the  strings  were  wound  with  cloth 
so  that  when  struck  it  gave  forth  only  a  mild  tinkling  sound.  They 
were  made  for  nuns  who  might  want  a  little  music  in  a  quiet  way  with- 
out disturbing  the  lady  superiors. 

When  still  a  small  boy,  scarce  eight  years  old,  his  father  made  a 
trip  to  Weissenfels,  to  visit  his  eldest  son,  who  was  in  the  service  of 
the  Duke  there.  Of  course  he  had  no  idea  of  takinsT  the  little  Geors^e 
Frederick  with  him,  for,  at  court,  the  boy  would  be  almost  sure  to  hear 
some  music  and  so  get  further  strengthened  in  his  pestiferous  liking  for 
the  shallow  art.  But  as  the  good  old  doctor  drove  away  in  liis  chaise 
the  boy  ran  after  him  a  mile  or  two,  and  begged  so  hard  to  be  taken 
that  the  father  finally  bundled  him  into  the  chaise  and  took  him  along 
"to  get  rid  of  him."  Arrived  at  court,  the  boy  was  left  to  shift  for 
himself  while  papa  and  the  big  brother  were  seeing-  the  Hcmis  of  the 
place.  Bv  a  natural  attraction  the  young  musician  soon  found  himself 
in  the  chapel,  and,  with  the  friendly  aid  of  a  good  natured  servant  at 
the  bellows,  was  soon  in  fine  frenzy  of  harmony  at  the  organ.  By  a. 
lucky  chance  the  Duke  came  along,  and  immediately  perceived  the  real 
talent  of  the  young  player.  And  here,  to  his  great  horror,  papa  Handel 
found  him  a  little  later.  But  the  Duke  assured  the  old  gentleman  that 
the  boy  had  a  genuine  talent  for  music  which  must  on  no  account  be 


148  HOW  TO   UNDERSTAND  MUSIC 

« 

hid;  that  he  must  put  young  George  Frederick  under  strict  training  as 
a  musician,  and  not  try  to  thwart  the  jjlain  design  of  Providence. 

So,  on  his  return  to  Halle,  young  Handel  was  put  under  the  in- 
struction of  the  great  organist  there,  Zachau,  who,  for  about  three  years, 
put  him  through  a  course  of  the  heroic  training  those  times"  delighfed 
in.  Towards  the  last  of  this  course  Handel  wrote  a  cantata  or  motette 
every  week — many  of  them,  I  dare  say,  poor  stuff;  for  what  else  could 
be  expected  of  a  boy  of  ten,  although  they  must  have  been  technically 
correct  to  satisfy  the  conscientious  old  pedagogue.  iVt  length  Zachau 
had  not  the  heart  to  keep  it  up  any  longer,  for  a  boy  who  could  produce 
fugues  with  such  facility  and  of  so  good  an  average  of  merit  was  already 
a  mastei-,  and  so  Zachau  told  him.  9o  Handel  went  next  to  Berlin,  in 
1G9G,  and  studied  the  opera  school,  under  tire  auspices  of  the  Elector. 
The  next  year  old  Dr.  Handel  died,  leaving  his  family  poorly  provided 
for.  George  Frederick  then  went  to  Hamburg,  where  he  hoped  to 
earn  a  living  as  violinist  in  the  opera  orchestra.  Being  a  rather  poor 
player  he  got  a  very  subordinate  position,  that  of  rlpieno  second  violin 
(a  sort  of  fifth  wheel),  and  was  regarded  by  the  other  players  as  a  verit- 
able dunce,  for  he  was  nineteen,  large,  awkward,  rather  shy,  and  a  poor 
fiddler.  But  one  day  the  leader  was  sick  and  the  rehearsal  likely  to 
fall  through;  and  Handel  took  his  seat  at  the  harpsichord  (or  piano) 
because  he  could  best  be  spared  from  his  place  in  the  orchestra,  and 
carried  the  rehearsal  through  with  such  spirit  that  the  whole  orchestra 
broke  into  loud  applause. 

On  the  strength  of  this  recognition  he  appears  soon  as  permanent 
conductor  of  the  orchestra,  and,  along  with  his  dear  friend  Matheson,  a 
chief  composer  of  opera  for  the  Hamburg  stage.  Here  presently  he 
brought  out  '"'•Ahnira "  and  '•'•Nero^''  and,  probably,  '•'•Florindo  and 
Daphne^''  which  he  had  already  written  while  in  Berlin.  But  it  was 
Handel's  great  desire  to  visit  Italy.  So,  refusing  the  liberal  offer  of 
Prince  Giovanni  Gaston  de  Medici  to  send  him,  he  saved  his  money  and 
was  straightway  able  to  go  at  his  own  expense,  and  in  1707,  at  the  age  of 
twenty-one,  he  entered  Florence.  Here,  however,  he  stayed  only  long 
enough  to  compose  the  opera  "  Roderigo^''  for  which  he  received  one 
hundred  sequins,  when  he  immediately  betook  himself  to  Venice. 
Here  he  was  received  with  open  arms.  The  abounding  vitality  of  his 
music  and  its  sparkling  and  good  natured  originality  was  such  as  to 
secure  for  him  the  epithet  "the  dear  Saxon"  (" //  Garo  /Sasson.e^''). 

Domenico  Scarlatti  was  the  great  harpsichordist  of  all  Italy  at  that 
time.  He  was  a  sort  of  Chopin  of  his  day,  imparting  a  new  grace  and 
scope  to  piano-forte  music,  yet  not  creating  in  such  a  masterly  way  as 


GEORGE   FREDEllICK  HANDEL.  I49 

to  conquer  the  after-coming'  generations.  Handel,  also,  excelled  as  a 
harpsichordist,  and  the  relative  merits  of  the  two  artists  were  widely- 
discussed.  It  was  generally  thought  that  Scarlatti  played  with  more 
grace;  but  at  the  organ  Handel  was  unquestionably  the  superior. 
Scarlatti  himself,  however,  was  not  satisfied.  One  night  at  a  masked 
ball  a  disguised  player  seated  himself  at  the  harpsichord  and  amid 
the  noise  and  confusion  played  away  unnoticed.  But  just  then  Scar- 
latti came  in  and  at  once  his  trained  ear  recognized  the  masterly  touch. 
"It  is  either  the  Saxon  or  the  Devil,"  said  he.  It  vjcis  the  Saxon. 
Whenever  people  used  to  praise  his  playing  he  used  to  pronounce 
Handel's  name  and,  with  the  Italian  grimace,  cross  himself.  But  Handel 
and  Scarlatti  became  fast  friends. 

Here  in  Venice,  Handel  in  three  weeks  composed  an  opera 
'•'•  Agrippina^''  which  made  a  furore  from  Venice  to  Rome.  Here 
he  secured  the  patronage  of  Cardinal  Ottoboni,  whose  band-master 
was  the  Celebrated  Corelli,  a  composer  and  viotinist  of  somewhat  re- 
fined and  gentle  nature,  but  of  marked  genius.  Here  Handel  wrote 
five  operas,  of  which  we  have  no  room  to  speak  further. 

In  1709  he  was  back  again  in  Germany,  at  Hanover,  where  he  was 
retained  in  the  service  of  the  Elector  George  of  Brunswick,  afterwards 
the  English  George  I,  at  a  salary  of  £300  a  year.  Here  he  fell  in  with 
some  Eno'Iish  noblemen,  who  invited  him  over  to  London.  So  with 
gracious  leave  of  absence  from  the  Elector,  he  came  to  London  in  the 
Autumn  of  1710,  where  he  found  the  Italian  taste  everywhere  prev- 
alent. To  meet  this  he  composed  the  opera  Hinaldo,  which  was 
brouo-ht  out  in  1711  with  immense  success,  and  was  forthwith  arranq-ed 
for  pianos  and  barrel  organs,  and  was  thrummed,  whistled  and  beat 
from  one  end  of  the  kingdom  to  the  other.  Walsh,  the  publisher,  is 
said  to  have  made  £1,500  out  of  the  sale  of  the  pieces  of  this  opera. 
Within  a  few  months  Handel  was  back  again  in  Hanover,  but  the  quiet 
German  Court  was  not  much  to  his  taste  after  the  success  in  London. 
So  again  he  got  leave  of  absence  for  a  visit  to  London,  and  in  1713 
brought  out  an  ode  on  the  occasion  of  the  Queen's  birthday.  The  follow- 
ing year  the  peace  of  Utrecht  gave  occasion  for  the  Te  Deuni  and  -Jubi- 
late (both  well  known  in  England),  and  for  these  three  the  composer 
received  a  pension  of  £200  a  year  from  Queen  Anne,  and  forthwith 
Handel  (to  use  a  western  phrase)  "  went  back  "  on  Hanover  and  its 
rather  slow  court  completely  and  for  good.  Now  this  was  all  very  well 
as  long  as  the  Queen  lived,  for  the  public  was  ready  to  hear  and  pay. 
But  presently  Queen  Anne  died,  and,  bad  luck  for  Handel,  George  I, 
in  very  wrathful  mood  at  the  trick  played  him  by  liis  quoidam  chapel 


150  HOW  TO   UNDERSTAND  MUSIC. 

master,  came  over  himself  to  reign.  Handel  was  forbidden  the  court; 
but  Handel's  music  was  sung  and  jilayed  everywhere,  and  the  new  King 
not  only  knew  good  music  when  he  heard  it,  but  he  knew  Handel's 
music  as  well  as  he  knew  his  robust  frame  and  round  face.  So  one 
day  as  the  King  went  down  the  river  in  a  state  barge,  a  boat  came 
after  him  plavina^  some  new  and  delio-htful  music,  which  in  the  turn  of 
the  phrases  was  Handel's  clearly  enough.  This  was  the  celebrated 
"water  music,"  well  enough  in  its  day,  but  now,  in  spite  of  its  election 
and  high  calling,  rather  2->ctssec-  But  it  appeased  the  ire  of  the  King, 
and  Handel's  pardon  was  sealed  with  a  new  pension  of  £200  a  year. 

Mr.  Haweis,  in  "  Music  and  Morals,"  gives  a  pleasant  picture  of 
the  society  in  which  Handel  moved  at  that' time.  "  Yonder  heavy,  rag- 
ged looking  youth,  standing  at  a  corner  of  Regent  street  with  a  slight 
and  rather  refined  looking  companion,  is  the  obscure  Samuel  Johnson, 
quite  unknown  to  fame.  He  is  walking  with  Richard  Savage.  As 
Signor  Handel,  the  composer  of  Italian  music,  passes  by.  Savage  be- 
comes excited,  and  nudges  his  friend,  who  only  takes  a  languid  in- 
terest in  the  foreigner.  Johnson  did  not  care  for  music  ;  of  many 
noises  he  considered  it  the  least  disao-reeable. 

"  Toward  Charing  Cross  comes,  in  shovel  hat  and  cassock,  the 
renowned  ecclesiastic.  Dean  Swift.  He  has  just  nodded  patronizingly 
to  Bononcini  in  the  Strand  and  suddenly  meets  Handel,  who  cuts  him 
dead.     Nothing  disconcerted,  the  Dean  moves  on  muttering  his  famous 

epigram  : 

'  Sorae  say  that  Signor  Bononcini, 
Compared  to  Handel,  is  a  niun_y ; 
While  others  vow  that  to  him  Handel 
Is  hardly  lit  to  hold  a  candle. 
Strange  that  such  difierenccs  should  he 
'Twixt  tweedledum  and  tweedledee.'  x 

"  As  Handel  enters  '  Turk's  Head,'  at  the  corner  of  Regent  street, 
a  noble  coach  and  four  drove  up;  it  is  the  Duke  of  Chandos,  who  is 
inquiring  for  Mr.  Pope;  presently  a  deformed  little  man  in  an  iron- 
grey  suit,  and  a  face  as  keen  as  a  razor,  hobbles  out,  makes  a  low  bow 
to  the  burly  Handel,  who,  helping  him  into  the  chariot,  gets  in  after 
him,  and  they  drive  off  together  to  Cannons,  the  Duke's  mansion  at 
Edge  ware  There  they  meet  Mr.  Addison,  the  poet  Gay,  and  the  witty 
Arbuthnot,  who  have  been  asked  to  luncheon.  The  last  number  of 
the  /Sjyectato?'  lies  on  the  table,  and  a  brisk  discussion  soon  arises  be- 
tween Pope  and  Addison  concerning  the  merits  of  the  Italian  Opera,  in 
which  the  poet  would  have  the  better,  if  he  only  knew  a  little  more 
about  music,  and  could  keep  his  temper." 


GEORGE  FREDEIUCK   HANDEL.  151 

The  Duke  had  a  private  chapel,  and  a])pointed  Ilaiidel  organist 
in  place  of  Di\  Pepuscli,  who  retired  with  very  good  grace  belore  one 
so  manifestly  his  superior.  The  Duke's  chapel  became  a  very  fashion- 
able Sunday  resort  of  those  who  wanted  to  worship  God  in  great  com- 
pany and  hear  Mr.  Handel  play  the  organ.  While  in  this  position 
Handel  composed  what  were  called  the  "  Chandos  Anthems,"  nuniljering 
over  a  hundred  pieces.  These  are  interesting  as  marking  his  transi- 
tion towards  the  oratorio  ;  but  they  are  never  performed  now,  except 
for  their  historical  interest.  During  his  residence  at  Cannons,  which 
extended  to  1721,  Handel  composed  his  oratorio  of  "  Esther." 

In  1720  Handel  was  engaged  by  a  societ}''  of  noblemen  to  com- 
pose operas  for  the  Royal  Academy  of  Music  at  the  Haymarket,  of 
which  '■'•  Radamistus''''  was  one  of  the  tlrst  fruits;  on  this  followed 
'•'•Flor'idante''''  in  1721  and  '■'■Oito''''  in  1753 — the  latter  being  considered 
the  flower  of  his  dramatic  works.  Of  the  favorite  air  "xVffani  del  pen- 
sier,"  Dr.  Pepusch  remarked,  "The  great  bear  was  certainly  inspired 
when  he  wrote  that  song."  This  career  of  activity  went  on  with  full 
tide  of  fashionable  favor  for  four  years,  including  seven  more  operas. 
Then  the  fashion  changed.  At  a  rival  theatre  Dr.  Pepusch  brought 
out  'The  Beggar's  Opera,'  composed  of  all  sorts  of  bits  from  every 
source  including  much  from  Handel  himself,  and  all  the  public  went  to 
laugh  at  and  enjoy  it. 

Not  disheartened,  Handel  posted  off  to  Italy  to  get  a  supply  of 
the  best  singers,  determined  to  "fight  it  out  on  that  line."  But  fash- 
ion is  a  fickle  goddess,  and  it  was  many  a  struggling  year  before  tough 
old  Handel  saw  her  smiling  face  again.  New  and  better  operas  were 
o;iven  with  new  and  good  clothes  ;  but  the  ])ublic  did  not  respond. 
Giving  operas  with  Italian  singers  is  apt  to  try  one's  temper,  as  jx^haps 
Messrs.  Maretzek,  Strakosch  and  Grau  could  inform  us  if  they  would. 
It  is  related  that  at  a  rehearsal,  after  repeated  signs  of  insubordiiuition 
that  had  terribly  tried  the  composer's  irascible  temper,  the  famous  Cuz- 
zoni  finally  declined  to  sing  "  Falsa  Immagine."  Handel  exploded  at 
last.  "He  flew  at  the  wretched  woman  and  shook  her  like  a  rat.  'Ah! 
1  always  knew  you  were  a  fery  tefil,'  he  cried  ;  and  T  shall  now  let 
you  know  that  I  am  Beelzebub,  the  prince  of  te  tefilsl'  and  dragging 
her  to  the  open  window,  was  just  on  the  point  of  ])ilching  her  into  the 
street,  when,  in  every  sense  of  the  woi-d  she  recanted.*" 

The  struo-o-le  ao;ainst  fate  lasted  until  about  1741.  In  1732,  we 
read  that  '-'•  HeHtei\  an  English  oratorio,  was  performed  six  tinu?s,  and 
very  full."     Within  the  next  seven  years  he  wrote  sixteen   operas  and 

•Music  and  Morals. 


152  HOW  TO   UNDERSTAND  MUSIC. 

five  oratorios.  Still,  with  strange  blindness,  Handel  could  not  see 
that  the  public  had  done  with  his  operas.  He  wrote  ballet  music 
(fancy  Handel  writing  music  for  "the  Black  Crook"  or  "the  Field  of 
the  Cloth  of  Gold")  and  lavished  immense  sums  in  scenery,  "  new 
clothes "  and  properties.  But  it  was  all  in  vain.  In  eight  years  he 
lost  £10,000  in  opera  and  was  obliged  to  suspend  payment  and  close 
the  theatre.  With  failing  health  he  betook  himself,  sick,  discouraged 
and  mad,  to  Aix-la-Chapelle.  In  1727  he  was  much  amended  and  re- 
turned to  Engla,nd,  as  Mr.  Havveis  suggests,  "not  like  Mozart  from 
Baden,  to  write  his  ow^n  requiem,  but  some  one's  else."  It  was  the 
funeral  anthem  in  memory  of  Queen  Caroline  that  claimed  his  atten- 
tion. 

Resolute  still,  he  tried  the  opera  again,  producing  three  successively; 
but  each  failed  worse  than  the  last.  Still  many  were  true  to  him. 
King  George  II,  paid  him  well  for  his  work,  and  taught  the  Prince  of 
AVales  (afterwards  George  IV)  to  love  his  music.  "  Southey  tells  us 
that  Handel  asked  the  boy,  then  quite  a  child,  who  was  listening  very 
earnestly  to  his  playing,  if  he  liked  the  music,  and  when  the  little  prince 
expressed  his  delight,  '  A  good  boy!  a  good  boy!'  cried  Handel.  '  You 
shall  protect  my  fame  when  I  am  dead.' "  The  best  writers,  too,  stood 
up  manfully  for  Handel.  Such  were  Gay,  Arbuthnot,  Hughes,  Colley 
Cibber,  Pope,  Fielding,  Hogarth  and  Smollett.  "  These  were  the  men 
who  kept  their  fingers  on  the  pulse  of  the  age  ;  they  gauged  Handel 
accurately,  and  they  were  not  wrong.  At  a  time  when  others  jeered 
at  Handel's  oratorios,  these  men  wrote  them  up  ;  when  the  tide  of  fine 
society  ebbed,  and  left  Handel  high  and  dry  on  the  boards  of  a  deserted 
theatre,  they  occupied  the  pit  ;  when  he  gave  his  benefit  concert  they 
bought  the  tickets,  and  when  his  operas  failed,  they  immediately  sub- 
scribed and  had  them  en^•raved."* 

The  people,  also,  were  true  to  Handel.  His  music  was  played  by 
bands  everywhere  throughout  the  kingdom.  He  became  very  popu- 
lar as  a  player,  and  at  every  oratorio  performance  performed  one  or 
two  "new  organ  concertos."  The  vear  1739  was  a  verv  active  one  for 
Handel;  in  it  he  produced  the  oratorios  of  "  Saul,"  "  Alexander's  Feast," 
and  "Israel  in  Egypt."  The  latter  is  truly  a  colossal  work,  containing 
twentv-seven  choruses,  nearly  all  of  which  are  double,  that  is,  written 
for  two  choirs.  This  work  has  been  given  by  the  Boston  Handel  and 
Haydn  Society  several  times,  and  perhaps  elsewhere  in  this  country. 
It  is  very  grand, but  many  regard  it  as  somewhat  tedious  on  account  of  the 
preponderance  of  choruses.     This  succession  of  such  mighty  choruses 

*Music  and  Morals,  p.  167. 


GEORGE  FREDERICK  HANDEL.  153 

has  always  struck  musicians  with  wonder.  Mendelssohn  regarded  it  as 
somethiniz;  almost  suoerhuinau.  In  the  letters  from  1833  to  1847,  Men- 
delssoliii  recounts  the  use  he  made  of  a  part  of  this  oratorio  in  an  en- 
tertainment of  music  and  tableaux  given  at  Dusseldorf,  in  honor  of  the 
Ci'own  Prince.  "  Thev  took  place  in  the  great  hall  of  the  Academy 
where  a  stage  was  erected.  In  front  was  the  double  cliorus  (about 
ninety  voices  altogether)  standing  in  two  semi-circles  around  mv  Eng- 
lish piano;  and  in  the  room,  seats  for  four  hundred   spectators.     R 

in  mediiBval  costume  interpreted  the  whole  affair,  and  contrived,  very 
cleverly,  to  combine  the  different  objects  in  spite  of  their  disparity. 
"He  exhibited  three  transparencies:  1st.  'Melancholy,'  after 
Durer,  a  motette  of  Lotti'Sibeino-  o-iven  by  men's  voices  in  the  far  distance: 
then  the  Raphael,  with  the  Virgin  appearing  to  him  in  a  vision,  to 
which  the 'O  Sanctissima' was  sung  (a  well  known  song,  but  which 
always  makes  ]:)eople  cry);  thirdly,  St.  Jerome  in  his  tent,  with  a  song 
of  Weber's  '■  Mor''  tots,  Warhcit.''  This  was  the  first  part.  Now 
came  the  best  of  all.  We  besran  from  the  very  beo-inninfi:  of  '  Israel 
in  Egypt.'  Of  course  you  know  the  first  recitative,  and  how  the  chorus 
gradually  swells  in  tone  ;  first  the  voices  of  the  alti  are  heard  alone, 
then  more  voices  join  in,  till  the  loud  passage  comes  with  single  chords, 
'They  sighed,'  etc.  (  in  G  minor), when  the  curtain  rose  and  displayed 
tlie  first  tableau,  '  The  Children  of  Israel  in  Bondage,'  designed  and 
arranged  by  Bendeman.  In  the  foreground  was  Moses,  gazing  dream- 
ily into  the  distance  in  sorrowful  ajmthy;  beside  him  an  old  man  sink- 
ms.  into  the  ground  under  the  vveio-ht  of  a  beam,  while  his  son  makes 
an  effort  to  release  him  from  it;  in  the  background  some  beautiful 
figures  with  uplifted  arms,  a  few  weeping  children  in  the  foreground — 
the  whole  scene  closely  crowded  together  like  a  mass  of  fugitives. 
This  remained  visible  till  the  close  of  the  first  chorus;  and  wlien  it 
ended  in  C  minor  the  curtain  at  the  same  moment  dropped  over  the 
bright  picture.     A  finer  effect  T  scarcely  ever  saw. 

"The  chorus  then  sansr  'The  Plasrues,'  'Hail  Darkness'  and  -The 
First-Born,'  without  any  tableaux,  but  at  the  chorus  'lie  Led  Them 
Out  Like  Sheep,'  the  curtain  rose  again,  when  Moses  was  seen  in  the 
foreground,  with  raised  staff,  and  behind  him,  in  gay  tumult,  the  same  fig- 
ures who  in  the  first  tableaux  were  mourning,  now  all  pressing  onwards 
ladened  with  gold  and  silver  vessels;  one  vouns:  girl  (also  by  Bende- 
man)  was  especially  lovely,  who,  with  her  pilgrim's  staff,  seemed  as  if 
advancina:  from  the  side  scenes  and  about  to  cross  tlie  stage.  Then 
came  the  choruses  ao-ain,  without  any  tableaux,  'But  the  Waters.' 
'He  rebuked  the  Red  Sea,'  '  Thy  Right  Hand,  O  Lord,'  and  the  recita- 


154  HOW  TO  UNDERSTAND  MUSIC. 

tive  'And  Miriam,  the  Prophetess,'  at  the  close  of  which  the  solo  so- 
prano appeared.  At  the  same  moment  the  last  tableau  was  uncovered 
— Miriam  with  a  silver  timbrel  sounding  praises  to  the  Lord,  and  other 
maidens  with  harps  and  citherns,  and  in  the  background  four  men 
with  trombones  pointing  in  different  directions.  The  soprano  solo  was 
sung  beliind  the  scenes,  as  if  proceeding  from  the  picture,  and  when 
the  chorus  came  in  J'orte  vea,l  trombones  and  trumpets  and  kettle  drums 
were  brought  on  the  stage  and  burst  in  like  a  thunderclap.  Handel 
evidently  intended  this  effect     *     *     *     " 

In  1741  Handel  composed  his  master  work,  "The  Messiah,"  in 
seventeen  days.  P''or  a  detailed  criticism  on  this  work  and  the  "Judas 
Maccabeus"  I  have  no  place.  It  must  suffice  to  say  of  "  The  Messiah" 
that  certain  numbers  of  it  are  masterpieces  of  the  most  precious  quality. 
Even  the  quaint  and  curious  "  And  He  Shall  Pui'ify"  is  one  of  the 
most  characteristic  morceaux  to  be  found  in  the  whole  chorus  repertory. 
The  "  Hallelujah  "  chorus  is  now  everywhere  known.  Still  those  who  • 
have  never  heard  this  chorus  with  hundreds  of  voices,  full  orchestra 
and  organ,  have  not  yet  heard  HandeTs  "  Hallelujah,"  but  only  a  part 
thereof.  It  is  generally  known  that  Mozart  added  new  wind  parts  to 
the  score  of  the  "Messiah."  These  additions  in  this  chorus  fill  up 
seven  staves,  and  impart  a  characteristic  splendor  to  this  noble  crea- 
tion, which  the  orchestra  in  HandeFs  time  could  not  attain.* 

There  is  no  doubt  in  my  mind  that-  Handel  was  helped  in  the 
"  Messiah  "  very  much  by  the  text,  which  contains  the  most  inspiring 
passages  to  be  found  in  all  literature;  besides,  in  his  other  works  he 
only  rarely  rises  to  the  heights  he  reaches  in  this  one. 

"  The  Messiah  "  was  first  produced  in  Dublin  in  1742,  for  a  charita- 
ble purpose,  and  it  is  interesting  to  note  that  this  oratorio  has  con- 
tributed more  money  in  charity,  first  and  last,  than  any  other  work  of 
art  whatever.  The  production  of  these  great  oratorios  was  the  turning 
point  in  Handel's  fortunes.  He  speedily  paid  off  his  debts,  and  with- 
in the  next  seventeen  years  accumulated  a  handsome  fortune.  His 
last  oratorio  was  "  Jephtha,"  written  in  1751,  about  which  time  he  began 
to  be  blind,  from  the  affection  known  as  gutta  serena.  He  was  couched 
several  times,  but  he  finally  lost  his  sight  entirely.  He  continued 
to  give  oratorio  performances,  at  intervals,  until  about  a  week  before 
his  death.  He  died  in  London,  Good  Friday,  April  14,  1759,  in  his 
seventv-fifth   vear.     His   larcje  proiiertv,  amounting^  to  somethins^  like 

i'  *'  Oil./-'  t~  o 

£50,000  was   all  bequeathed  to   charitable    institutions.     Handel    was 

*(Tliose  curious  in  this  matter  can  obtain  the  full  orchestral  score  of  "The  Messiah,"  in  the 
Peters'  edition,  incliuling  Mozart's  additions  for  about  tliree  dollars.) 


GEORGE  FREDERICK  HANDEL.  155 

never  married,  had  no  vices  except  an  irasci])Ie  temper,  and  seems  never 
to  have  been  in  love  but  once. 

As  an  organist,  he  was  of  the  greatest  eminence.  The  clearness 
with  which  he  expressed  his  ideas,  the  dignity  of  his  musical  thought, 
so  well  suited  to  the  organ,  together  with  his  decision  and  spirit  as  a 
performer,  combined  to  make  him  immensely  successful. 

It  is  diflicult  to  define  the  relative  rank  <jf  Handel  and  Bach 
as  great  masters,  and  to  weigh  their  influence  on  the  course  of 
musical  development  since.  As  Brendel  well  says,  they  were  the  cul- 
mination of  musical  progress  in  their  age,  but  they  represented  oppo- 
site poles.  Bach  was  a  quiet  home-body,  writing  always  in  a  higlily 
subjective  manner  out  of  the  depths  of  his  own  feeling.  Although  the 
greatest  organist  of  his  times,  and  often  listened  to  by  kings  and  lords, 
he  did  not  allow  himself  to  change  from  the  ideal  of  art  that  was  con- 
genial  to  his  nature.  Handel  on  the  other  hand,  a  bustling,  energetic 
man,  of  a  truly  cosmopolitan  taste,  had  it  always  for  his  task  to  please 
and  attract  the  masses.  Resources  were  not  wantins^.  He  controlled 
for  nearly  forty  years  the  best  singers  and  players  in  the  world.  His 
genius  had  every  thing  to  favor  it.  To  a  German  honesty  and  depth 
(jf  artistic  conception  he  united  the  Italian  art  of  clear  expression;  yet 
all  this  with  no  sacrifice  of  the  nobilitv  of  his  art,  and  for  a  ixenius  of 
such  composition,  England,  the  land  of  common  sense,  was,  of  all  others, 
the  field  of  action.  Handel  has  done  more  to  make  the  musical  art 
respected  by  the  public  generally  than  any  other  composer.  Bach  has 
been  the  inspiration  of  musicians.  Bach  and  Handel  are  the  corner 
stones  of  Modern  Music. 

Handel  was  pre-eminently  a  composer  of  vocal  music.  In  his 
recitatives  he  attains  a  dignified  and  truly  musical  declamation  of  the 
text,  as  we  already  saw  in  Chapter  XXXVIII,  and  occasionally  rises  to 
true  pathos.  In  his  arias  he  is  frequently  diff"use.  The  leading  motive 
is  too  many  times  turned  over.  Yet  this  fault  is  wellnigh  universal  in 
the  classical  aria,  which  is,  as  we  know,  merely  a  prolongation  of  a 
single  moment  in  the  dramatic  movement.  Besides,  this  prolixity  only 
gave  more  opportunity  to  the  prima  doruia.  At  other  times,  however, 
his  arias  are  not  too  long,  even  for  the  rapid  age  we  live  in.  In  very 
many  of  them  we  find  a  close  relation  Ijetween  the  text  and  the  music, 
and  always  a  careful  consideration  for  the  voice.  His  style,  although 
melodious  and  thus  far  Italian,  was  distinguished  for  its  contrapuntal 
spirit,  and  its  elevation  and  dignity,  and  was  therefore  especially  suited 
to  the  oratorio.  In  his  choruses  he  rises  to  the  highest  points  yet 
reached  in  this  form  of  art.     Of  this  one  finds  very  many  examples,  of 


156  HOW  TO   UNDERSTAND   MUSIC. 

which  the  "Hallelujah,"  '-The  Horse  and  His  Rider,"  "The  Hail- 
stone Chorus,"  "  Lift  up  Your  Heads,"  and  "Worthy  is  the  Lamb" 
are  known  to  all.  His  instrumental  music  is  not  so  important.  It  is 
melodious,  and  of  course  well  written,  but  in  general  somewhat  diffuse. 
Even  his  famous  organ  concertos  do  not  escape  the  charge  of  being 
commonplace. 

Programme  of  Handel  Illustrations. 

1.  {Moderately  Difficult,  Employing  the  Piano  and  Soprano.) 

1.  Fugue  in  E  minor  ("  Fire  Fugue"). 

2.  "As  when  the  dove  laments  her  love,"  from  "Acis  and  Galatea."     Soprano. 

3.  Pastoral  symphony,  from  "  Messiah." 

4.  "  How  beautiful  are  the  Feet "  (from  "  Messiah").    Soprano. 

5.  Air  and  Variations  in  E,  "  The  Harmonious  Blacksmith." 

6.  Aria,  "Lasciach'  io  Pianga,"  from  "Riuaklo." 

7.  a.  Minuet  from  Samson. 
h.  Chaconne  in  F. 

c.  March  from  occasional  Oratorio. 

8.  "I  know  that  my  Redeemer  liveth."     Soprano. 

9.  Hallelujah  Chorus  from  the  "Messiah." 

(3.  Employing  Soprano,  Alto,  Tenor,  and  Chorus  loilh  Piano-forte.) 

1.  a.  "Comfort  ye  mj^  people." 

b.  Every  Valley  shall  be  exalted.     Tenor  Solo. 

c.  Chorus  "And  the  Glory  of  the  Lord." 

2.  a.  INIinuet  from  Samson. 

b.  March  from  Joshua. 

c.  Air  Bour(5e  and  Double.     Arr.  by  Mason.     The  Piano-forte. 

3.  "Hope  in  the  Lord,"  Arr.  by  Mason.     Soprano. 

4.  "  O  thou  that  tellest,"  from  "  Messiah."    Alto  solo  and  Chorus. 

5.  a.  "Thy  rebuke  hath  broken  his  heart." 

b.  "  Behold  and  see  if  there  be  any  sorrow."     Tenor. 

c.  "  But  Thou  didst  not  leave  his  soul  in  hell."     From  the  "  Messiah." 

6  "How  beautiful  are  the  Feet."     Soprano. 

7  Hallelujah  Chorus,  or  "Worthy  is  the  Lamb." 


FRANCIS  JOSEPH    HAYDN.  157 


CHxVPTEE     FORTY -FOUR. 

FRANCIS  JOSEPH  HAYDN. 

Up  to  the  time  of  which  I  am  now  about  to  write,  the  great  crea- 
tive geniuses,  Handel  and  Bach,  had  devoted  their  efforts  to  vocal 
music;  instrumental  music  had  received  a  certain  amount  of  attention, 
it  is  true,  and  the  organ  especially  was  carried  no  further  until  the  time 
of  Mendelssohn.  But  althouo;h  Bach  and  Handel  were  not  altosretlier 
above  playfulness,  it  was  of  a  sort  essentially  masculine  and  earnest. 
The  light  and  easy-going  spirit  of  modern  society,  which  chiefly  culti- 
vates instrumental  music,  formed  no  part  of  Bach  or  Handel's  nature, 
and  hence  it  has  no  expression  in  their  works.  Nevertheless,  what  they 
had  done  went  far  to  render  instrumental -music  possible,  as  they  im- 
])arted  to  music  a  degree  of  emotional  coloring  entirely  unknown  before 
their  time.  At  the  hands  of  Handel,  also,  melody  had  assumed  more 
definite  form.  Both  these  men,  also,  were  able  to  develop  a  musical 
thought  in  a  purely  musical  spirit  (that  is,  independently  from  words, 
and  influenced  simply  by  conditions  of  syiPimetry  and  contrast,  as  well 
as  unity)  to  a  masterly  degree,  which  has  never  been  surpassed.  One 
of  Bach's  sons,  Carl  Philip  Emanuel,  began  the  career  of  instrumental 
music.  He  was  wonderfully  gifted  in  the  art  of  improvising,  for  which 
he  was  amply  qualified  by  the  thorough  training  he  liad  received  from 
his  father.     Emanuel  Bach  was  the  father  of  the  Sonata. 

In  March,  1T32,  in  the  village  of  Rohrau  (not  far  from  Vienna),  a 
certain  wheelwright,  of  a  musical  turn,  was  blessed  with  a  dark  and 
perhaps  rather  scrawny  little  son,  to  whom  was  given  the  name  of 
Francis  Joseph  Haydn.  Papa  Haydn  played  a  little  on  the  organ  and 
harp,  and  sang  with  a  fine  tenor  voice. .  Sunday  afternoons,  when  his 
official  duties  as  sexton  were  over,  he  was  accustomed  to  have  a  sort  of 
concert  with  the  aid  of  his  wife.  The  little  Francis  Joseph  was  an 
interested  assistant  at  these  domestic  celebrations,  and  soon  learned  to 
add  his  own  pioing  little  voice  to  the  family  concerts.  x\t  an  earh'  age 
he  went  to  Hamburg  with  his  cousin  Frank,  who  promised  to  teach 
him  music  and  Latin.  When  vet  hardlv  eio-ht  vears  old  the  vouno'ster 
became  celebrated  as  a  choir-boy,  and  veiy  soon  lie  was  captured  by 


158  HOW  TO   UNDEKSTAND  MUSIC. 

Reuter,  the  director  of  the  music  at  St.  Stephen's  Church  in  Vienna, 
who  used  to  make  frequent  tours  in  search  of  promising  voices  for  his 
choir.  Haydn  afterwards  said  that  all  the  time  he  was  with  Renter 
(over  ten  years),  never  a  day  passed  in  which  he  did  not  practise  from 
sixteen  to  eighteen  hours,  although  the  boys  were  practically  their  own 
masters,  only  being  obliged  to  practice  two  hours. 

When  thirteen  years  old  he  composed  a  mass,  which  to  his  great 
chao-rin  was  niercilesslv  ridiculed  by  Renter.  Havdn  presentlv  saw 
that  a  knowledge  of  harmony  and  counterpoint  was  essential  to  success 
in  composition.  But  who  would  teach  a  penniless  choir  boy  ?  For 
Haydn  was  absolutely  as  poor  as  poverty  itself.  Bread  and  cheese  and 
an  annual  suit  of  clothes  he  had  to  be  sure,  but  the  authorities  of  St. 
Stephen's  Church  in  Vieinia  preserved  their  choir  boys  as  carefully 
from  "  the  deceitfulness  of  riches,"  as  many  churches  do  their  ministers 
now-a-days.  But  genius  is  indefatigable.  Haydn  found  a  copy  of  a 
treatise  on  counterpoint  by  Fux,  in  a  second-hand  bookstore,  and  by 
some  desperate  expedient  contrived  to  get  possession  of  it.  Now  Fux's 
book  is  in  Latin,  and  not  in  the  clearest  form.  But  Haydn  knew  there 
were  worse  things  in  the  world  than  bad  Latin,  and  one  of  these  was 
ignorance.  So  he  "  pegged  away"  at  it,  like  the  plucky  little  man  he 
was,  lying  a-bed  in  cold  days  to  keep  warm,  taking  his  diurnal  portion 
of  the  sorry  old  book  as  conscientiously  as  he  did  his  daily  mass  and 
diinier.  About  the  time  he  had  begun  to  get  easy  on  the  subject  of 
counterpoint,  Providence  sent  him  another  lesson. 

In  the  suite  of  the  Venetian  ambassador  at  Vienna  was  the  great 
Italian  master  and  singer,  Nicolo  Porpora.  Now  Porpora  was  a  crusty 
old  person,  and  was  not  a  man  who  at  all  looked  like  taking  up  -a  pro- 
tege in  the  shape  of  a  seedy  looking  little  choir  boy.  But  if  Porpora 
did  not  know  Haydn,  Haydn  did  know  Porpora,  and  that  he  was  the 
same  great  master  who  had  been  brought  over  to  London  to  rival  the 
mighty  Handel,  just  now  in  the  very  glory  of  his  fame.  So  Haydn  got 
up  early,  cleaned  the  boots,  brushed  the  coat,  and  curled  the  wig  of  the 
amiable  master,  whose  only  recognition  of  these  services  was  a  mut- 
tered "^/ho',"  when  Haydn  entered  the  room.  But,  as  Sara  Slick  dis- 
covered, "  soft  soap "  will  tell  if  persevered  in,  and  when  to  these 
civilities  was  added  the  fact  that  they  were  gratis^  and  when  the  boy 
had  proved  himself  so  useful  in  accompanying  some  of  Porpora's  songs, 
which  the  beauteous  lady  of  the  ambassador  was  fond  of  singing — at 
last  the  severity  began  to  relent,  and  Haydn  got  many  a  word  of  sound 
advice,  and  with  it  the  Italian  taste  in  singing.  Presently  the  ambas- 
sador recognized  the  young    man's   progress   by  a  pension   of  fifteen 


FRANCIS  JOSEPH   IIAVDN.  15<j 

dollars  a  month,  and  a  seat  at  the  secretaries'  table.  Haydn  was  lunv 
lull  ol"  activdty;  as  soon  as  it  was  light  he  made  haste  to  the  Church  ot" 
the  Father  of  Mercy,  where  he  played  first  violin;  from  thence  he 
hastened  to  the  chapel  of  Count  Haug-witz,  where  he  played  the  organ; 
afterwards  he  sang  the  tenor  at  St.  Stephen's.  He  then  returned  liome 
and  finished  out  the  day  at  his  piano.  If  there  is  any  one  lesson  that 
the  early  lives  of  these  composers  teach  more  plainly  than  another,  it  is 
that  laziness  is  not  a  sign  of  genius.  Hard  toork  is  an  indispensable 
condition  of  success  in  any  business  that  is  woi-th  following.  Haydn's 
voice  l)roke  when  he  was  nineteen  years  old,  and  he  found  himself 
without  employment.  A  wig-maker  named  Keller  kindly  received 
him  as  a  son,  and  in  this  house  Haydn  gave  himself  more  decidedly 
to  composition.  When  he  was  twenty  he  published  six  instrumental 
trios,  which  attracted  general  attention.  The  individuality  of  his  talent 
was  more  fully  confirmed  by  his  first  quartette,  which  soon  followed. 
Presently  he  left  the  house  of  Keller,  and  found  a  boarding  place  with 
a  Mr.  Martinez,  on  condition  of  his  giving  piano  and  singing  lessons  to 
his  two  daughters.  In  the  same  house  lived  the  poet  Metastasio,  who, 
being  fond  of  music,  took  Haydn  into  his  friendship,  having  him  daily 
to  dinner  and  good  converse.  In  this  way  Haydn  picked  up  a  great 
deal  of  o-eneral  knowledo;e  and  some  Italian,  affording:,  I  daresay,  with 
his  simple  German  nature,  fully  as  much  as  he  gave. 

In  1758  he  entered  the  employment  of  Count  Mortzin,  as  leader 
of  his  orchestra.  In  this  capacity  some  of  his  works  attracted  the  at- 
tention of  old  Prince  Esterhazy,  who  in  17G0  appointed  him  Jcapell- 
meister.  The  old  gentleman  died  a  year  after,,  but  Haydn  continued 
for  thirty  years  in  the  service  of  his  son  Nicholas,  who  died  in  1790. 
Within  the  ten  years  previous  to  this  appointment,  he  had  composed 
his  opera  "The  Devil  on  Two  Sticks,"  a  number  of  quartettes  and 
trios,  and  just  now  his  first  symphony,  and  here  he  is  twenty-eight 
years  old.  Yet  this  short  list  of  works  was  by  no  means  all  Haydn  had 
written.  He  had  produced  an  immense  mass  of  pieces  of  every  kind, 
wliich  had  merely  served  the  purpose  of  giving  him  that  facility  of 
expression,  that  mastery  over  the  technics  of  his  art,  without  which  a 
genius,  however  highly  gifted,  is  curtailed  in  the  most  promising 
flights. 

.The  thirty  years  that  followed  were  monotonous  in  the  extreme. 
About  two  months  of  every  year  were  spent  in  Vienna;  the  other  ten 
at  the  prince's  quiet  Hungarian  estates.  Haydn  produced  an  enormous 
list  of  pieces,  many  of  them  of  great  beauty.  They  comprise  119  sym- 
phonies, 83  quartettes,  21  trios,  19  operas,  15  masses,  163  compositions 


160  HOW  TO   UNDERSTAND   MUSIC. 

for  barytone  (Prince  Esterhazy's  favorite  instrument),   44  pianoforte 
sonatas,  etc. 

Haydn  appears  to  have  been  unconscious  of  the  immense  reputa- 
tion he  had  achieved  throughout  Europe,  and  was  never  more  aston- 
ished than  when,  soon  after  Prince  Esterhazy's  death,  a  stranger  burst 
into  his  room,  saying,  "  I  am  Salomon  of  London,  and  am  come  to  carry 
you  off  with  nie;  we  will  strike  a  bargain  to-morrow."  "Oh,  papa," 
said  the  youthful  Mozart,  "you  have  had  no  education  for  the  wide, 
wide  world,  and  you  speak  too  few  languages."  "Oh,  my  language," 
replied  the  papa  with  a  smile,  "  is  understood  all  over  the  world." 
And  so  at  the  age  of  sixty,  in  the  full  maturity  of  his  powers,  came 
Haydn  to  London.  Here  in  little  more  than  a  year  he  wrote  six 
new  symphonies,  and  many  other  smaller  things.  These  symphonies 
were  brought  out  as  novelties,  Haydn  conducting  in  person,  seated  at 
the  piano. 

The  bustle  of  London  and  the  favor  with  which  he  was  received 
struck  Haydn  favorably.  "He  tells  us*  how  he  enjoyed  himself  at  the 
civic  feast  in  company  with  William  Pitt,  Lord  Chancellor,  and  the 
Duke  of  Lids  (Leeds).  He  says,  after  dinner  the  highest  nobility — 
i.e.  the  Lord  Mayor  and  his  wife  (!) — were  seated  on  a  throne.  Li 
another  room,  the  gentlemen,  as  usual,  drank  freely  all  night;  and  the 
songs  and  the  crazy  uproar  and  the  smashing  of  glasses  were  very 
great.  The  oil  lamps  smelt  terribly,  and  the  dinner  cost  £6,000.  He 
went  down  to  stay  with  the  Prince  of  Wales  (George  IV.),  and  Sir 
Joshua  Reynolds  painted  his  portrait.  The  Prince  played  the  violon- 
cello not  badly,  and  charmed  Haydn  by  his  affability.  'He  is  the 
handsomest  man  on  God's  earth.  He  has  an  extraordinary  love  of 
music,  and  a  great  deal  of  feeling,  ])ut  very  little  money.'  From  the 
palace  he  passed  to  the  laboratory  and  v/as  introduced  to  Herschel,  in 
whom  he  was  delighted  to  find  an  old  ob5e  player.  The  big  telescope 
astonished  him,  so  did  the  astronomer.  'He  often  sits  out  of  doors  in 
the  most  intense  cold  for  five  or  six  hours  at  a  time.'" 

In  1792  Haydn  returned  to  Vienna,  where  he  brought  out  his  new 
symphonies.  In  1795  he  was  back  again  in  London,  and  earned  no  less 
than  12,000  florins  (five  or  six  thousand  dollars).  He  bought  him  a 
little  home  near  Vienna,  where  he  passed  the  remnant  of  his  days  in 
peace  and  quiet.  In  1795  he  began,  and  in  1798  finished  his  cantata 
or  oratorio  "  The  Creation,"  which  we  commonly  speak  of  as  his  greatest 
work.  Haydn  died  at  the  age  of  seventy-seven,  in  1809,  and  was 
buried  in  the  cemetery  of  Gumpfendorf,  Vienna. 

*  "  Music  and  Morals." 


FRANCIS  JOSEPH   HAYDN.  16L 

Haydn's  works  number  about  eight  buiulred,  many  of  them  of 
small  value,  yet  all  finished  with  great  care.  I  hardly  know  whether 
in  strict  iustice  we  ouo-ht  to  accord  Havdu  the  s-reater  honor  as  a  vocal 
or  instrumental  composer;  for,  although  his  woi'ks  in  the  line  of  cham- 
ber music  and  symphony  have  exercised  the  greatest  influence  upon 
composers,  his  "Creation"  has  been  very  influential  (in  this  country  at 
least)  in  educating  the  taste  of  the  ]>ul)lic.  It  is  the  one  oratorio  that 
receives  the  earliest  attention  of  amateur  societies,  a  pre-eminence  it 
well  deserves  from  the  grace  and  sweetness  of  its  ideas,  and  the  elegance 
with  which  they  are  worked  out.  And  although  "  The  Creation  "  ap- 
pears somewhat  childlike  and  bland,  for  a  work  in  severe  style  (espe- 
cially when  compared  with  Handel's  "  Messiah  "  or  "  Israel,"  Bach's 
"  Passion's  Music,"  or  even  Mendelssohn's  "  Elijah"),  we  can  nt)t  dcMiy 
the  consummate  grace  of  the  lovely  airs  "  With  verdure  clad,"  and 
"On  mighty  pens,"  or  the  almost  operatic  sweetness  of  the  trio  "On 
thee  each  living  soul  awaits,"  and  the  concerted  duet  "  By  thee  with 
bliss."  "  The  heavens  are  tellino- "  has  been  universallv  a  fav- 
orite. 

Nevertheless  the  critic  turns  from  this  work,  wliich  in  everv  trait 
except  grace  and  sweetness  has  been  far  surpassed,  to  the  quartettes; 
and  here,  as  the  conditions  have  remained  substantially  the  same  from 
his  time  until  now,  Haydn  has  not  been  so  far  out-ranked.  Mozart  had 
a  livelier  imagination,  Beethoven  and  Schumann  more  of  Bach's 
earnestness.  Haydn's  music,  even  in  its  most  elaborate  moments,  is 
simple  in  its  essential  nature — the  expression  of  a  child-like,  contented 
soul,  so  completely  well  bred  as  almost  to  seem  never  to  ha-ve  required 
training. 

As  an  orchestral  writer  Haydn  made  enormous  advances.  He 
gave  the  symphony  the  systematic  development  of  the  sonata  form,  in- 
troduced many  new  combinations,  atid  established  the  type  of  the 
Andante  cantahile  movement,  which  Mozart  and  Beethoven  afterwards 
carried  to  so  great  a  perfection. 

His  pianoforte  compositions  sound  narrow  and  old  fasliioned. 

In  the  mere  fact  of  producing  so  much  of  a  somewhat  uniform 
texture,  Haydn  did  a  great  deal  for  the  cultivation  of  instrumental 
music.  He  seems  always  to  have  had  a  singularly  accurate  idea  of  the 
practical  and  the  available.  We  may  be  sure  both  that  he  was  a 
pleasant  man  to  get  along  with,  and  an  agreeable  writer,  or  he  would 
not  have  remained  so  long  in  one  position. 

Haydn  attached  small  importance  to  the  actual  substance  of  the 
germinal  ideas  in  his  works.  He  had  such  consummate  art  that  he 
il 


.162  HOW  TO   UNDERSTAND  MUSIC. 

could  work  up  the   most  commonplace  ideas  into  an    attractive  and 
beautiful  whole.     Hesaid^A^^  ireattne/it  was  every  tluug. 

List  of  Haydn  Illustrations. 

{Employing  Soprano,  Tenor,  Bass,  and  the  Pianoforte.) 

1.  Sonata  in  E  flat. 

2.  "  My  Mother  Bids  me  Bind  my  Hair,"  Soprano. 

3.  Minuet  in  C  (Oxen  Minuet). 

4.  "  In  Native  Worth,"  Tenor. 

5.  Variations  on  "  God  Save  the  Emperor"  (Haydn  Album,  p.  38). 

6.  "  Now  Heaven  in  Fullest  Glory  Shone,"  Bass. 

7.  Symphony  in  D  for  four  hands  (No.  5  Peters'  Edition). 

8.  Trio,  "  On  Thee  each  Living  Soul  Awaits,"  Soprano,  Tenor,  and  Bass. 


CHAPTER     FORTY-FIVE. 

MOZART. 

Rarely  does  it  fall  to  the  lot  of  a  writer  to  undertake  a  more  genial 
task  than  to  sketch  the  short  life  of  WoUgang-  Amadeus  Mozart,  born 
at  Salzburg,  about  a  hundred  miles  from  Vienna,  January  27,  175G — a 
life  of  such  marvellous  richness  as  to  give  to  a  sober  account  the  air  of 
liveliest  romance.  Bach  had  died  only  si. x  years  before.  Handel  was 
in  his  old  age  and  blindness,  and  died  three  years  later  ;  Haydn  was  in 
the  very  pinch  of  his  hardest  fortunes,  living  in  the  house  with  Metas- 
tasio,  as  previously  recorded.  Yet  these  proximities  of  dates  look  far 
more  significant  to  us  now  than  they  could  have  looked  a  hundred  years 
ago;  for  tlien  there  were  many  other  composers  of  great  talents  who 
contested  with  these  giants  the  claim  to  immortality.  The  century 
that  has  intervened  has  been  very  busy  in  analyzing  and  sifting  their 
productions,  and  tliis  has  finally  resulted  in  giving  due  honor  to  these 
great  ones,  who  the  more  they  have  been  weighed  in  the  balance  have 
proven  themselves  the  more  worthy. 

Leopold  Mozart,  the  father,  was  himself  a  musician  of  marked 
talent.  He  published  an  instruction  book  for  tlie  violin  and  held  a  place 
as  court  musician  with  the  Arciibisiiop  of  Salzburg.  When  "Wolfgang 
was  three  years  old  his  talent  for  music  began  to  manifest  itself. 
When  he  was  four  years  old  he  could  play  a  number  of  minuets  and 


,  MOZxVRT.  163 

the  like,  and  learned  with  wonderful  facility.  He  found  out  for  himself 
thirds  and  other  concords.  When  yet  under  six  years  old  his  father 
found  him  one  day  writing  something  which  he  called  a  "concerto  for 
the  harpsicliord."  The  father  of  course  laughed  at  such  a  work  by  a 
mere  baby,  but  the  little  fellow  insisted  that  it  was  really  a  concerto, 
and  on  examination  it  proved  to  be  written  strictly  according  to  rule, 
although  so  overloaded  with  difficulties  as  to  be  impossible.  When  a 
little  over  six  years  old  he  performed  at  the  court  of  Francis  I.,  at 
Munich,  with  his  eldest  sister,  where  his  wonderful  gifts  excited  the 
greatest  astonishment.  Still  it  is  but  just  to  say  that  child-virtuosity 
was  of  much  easier  attainment  then  than  now,  for  the  pianos  of  that  day 
were  very  small,  the  touch  light,  and  the  compositions  in  vogue  were  of 
an  amiable  and  unimpassioned  character. 

Presently  young  Wolfgang  learned  the  violin,  and  surprised  his 
father  by  playing  correctly  in  a  quartette.  Of  anecdotes  of  this  kind 
the  Mozart  biographies  are  full.  Suffice  it  to  say,  that  during  his  first 
twelve  years  his  talent  shone  out  brighter  and  brighter,  and  on  all 
hands  he  received  the  warmest  approbation,  yet  he  never  became  a 
spoiled  child.  He  was  of  a  gentle,  confiding  disposition,  of  a  sweet 
and  even  temper,  fond  of  play — a  queer  compound  of  manly  talent  and 
skill  with  childish  tastes  and  habits.  He  spent  some  three  years  in 
traveling,  visiting  France,  England  and  Holland — his  public  life  as  a 
youthful  virtuoso  being  supplemented  by  regular  and  daily  studies  in 
musical  theory,  and  the  regular  branches  of  a  polite  education,  [nthis 
way  he  learned  French,  Latin  and  Italian.  In  1767  or  so  he  visited 
Vienna,  and  composed  a  small  opera,  which,  however,  was  never  per- 
formed. By  the  command  of  the  Emperor,  he  wrote  a  mass  for  the 
dedication  of  the  new  Waisenhaus  cimrch,  and  conducted  with  baton 
in  hand.  When  scarcely  twelve  3'ears  old,  he  was  appointed  concert- 
meister  by  the  Archbishop  of  Salzburg,  and  within  the  next  year  wrote 
a  number  of  masses. 

But  his  father  was  anxious  that  Wolfgans;  should  become  known 
in  Italy,  which  was  at  that  time  the  fountain  of  musical  inspiration.  So 
in  December,  17G9,  they  set  off  for  Italy,  staying  some  months  in  Rome, 
Bologna,  Florence  Milan,  etc.  The  Pope  made  him  a  "  knight  of  the 
golden  spur." 

The  most  significant  triumph  of  this  tour  was  his  admission  as  a 
member  of  the  Philharmonic  Academy  of  Bologna,  at  that  time  the 
highest  musical  authoritv  in  the  world.  At  its  head  was  the  learned 
contrapuntist.  Father  Martini,  and  at  his  right  hand  the  great  singer, 
Farinelli,  also  a  learned   musician.      These  men    and  the   members  of 


164  HOW  TO   UNDERSTAND   MUSIC.      . 

the  Academy  generally  recognized  Mozart's  genius  as  a  performer,  but 
no  one  could  believe  that  a  boy  of  twelve  could  pass  triumphantly 
through  the  severe  tests  in  counterpoint  required  of  candidates  for  ad- 
mission. Nevertheless,  Padre  Martini  rightly  judged  that  the  extreme 
youth  of  Mozart  made  it  necessary  that  his  admission  to  the  distin- 
guished honor  of  membership  should  be  justihed  to  the  world  by  the 
severest  tests  ever  assigned.  This  task  was  the  composition  for  four 
voices  of  oneof  the  canticles  of  the  Roman  A)diphonariinn.  The  work 
was  to  be  treated  according  to  severe  rules,  and  performed  within  three 
hours  in  a  locked-up  room — the  Academy  waiting  as  patiently  as  they 
mio-ht  in  order  to  judge  the  work  as  soon  as  it  was  accomplished.  Men 
who  rea-arded  themselves  great  masters  had  often  failed  in  this  task,  con- 
sumino-  the  whole  time  in  the  production  of  a  few  lines.  It  was  there- 
fore  with  no  small  misgivings  that  Father  Martini  delivered  to  the  hope- 
ful Mozart  the  task  which  was  to  announce  his  manhood  in  the  most 
difficult  department  of  musical  theory.  But  great  was  his  surprise,  when 
after  little  more  than  a  half  hour  the  beadle  came  in  saying  that  the 
young  Mozart  declared  himself  ready  to  be  let  out,  having  finished  the 
task. 

"  Impossible  !"  said  many  of  the  members.  "  In  the  hundred 
years  the  Academy  had  been  established  such  a  case  had  never  occur- 
red." Nevertheless,  when  the  committee,  proceeded  to  Mozart's  room 
they  received  from  him  a  manuscript,  written  in  his  usual  neat  and 
delicate  hand;  and  after  careful  scrutiny  they  were  compelled  to  admit 
that  it  contained  no  faults  whatever.  I  may  add  that  it  took  the  old 
doctors  about  an  hour  to  go  through  the  paper  thoroughly  enough  to 
convince  themselves  that  Mozart's  rapid  work  was  faultless.  The  young 
composer  was  then  led  in,  and  the  whole  Academy  greeted  him  with 
hearty  applause,  and  recognized  in  him  an  accomplished  Maestro^  and 
a  Knight  of  Harmony. 

Now,  the  gratifying  point  of  this  transaction  is,  that  this  highly 
gifted  boy,  traveling  from  place  to  place,  playing  in  public  almost 
daily,  found  time  for  such  thorough  study  as  to  be  able  at  the  childish 
age  of  twelve  to  meet  and  conquer  the  most  learned  theorists  on  their 
own  o-round.  And  better  than  this,  he  does  not  seem  to  have  been 
puffed  up  by  his  success;  to  him  it  was  not  difficult,  and  while  proud  of 
the  commendation  of  these  learned  men,  and  of  having  proven  himself 
a  master,  we  find  his  letters  just  as  simple,  and  child-like,  and  modest 
as  before. 

After  this  Italian  tour  Mozart  returned  to  Salzburg,  which,  how- 
ever, he  soon  left  for  Munich.     But  his  future  ups  and  downs  we  have 


IVrOZAIiT.  105 

not  room  to  follow;  for,  unlike  Bacli,  Ilundel  and  Haydn,  whose  lives 
embraced  long  periods  of  twenty  years  and  more  passed  in  one  ])lace, 
Mozart  was  rarely  mort^  liian  a  few  years  in  a  place,  except  his  last  ten 
years,  which  ho  spent  in  Vienna.  It  is  the  more  difficult  to  bring  his 
life  into  a  sketch  from  the  fact  that  he  went  much  into  society,  and  has 
left  on  record  a  large  collection  of  letters  which  give  a  very  graphic 
picture  of  life  at  tliat  time.  These  letters  fill  two  volumes,  and  are  well 
worth  reading.  The  little  book  called  "Mozart's  Early  Days,"  lately 
published,  gives  a  very  lively  and  entertaining  account  of  his  life  up  to 
the  time  of  his  triumpli  in  tlie  Bohjgna  Academy.  Lee  &  Shepard  also 
publish  a  book — "  Mozart  and  Mendelssohn  " — which  not  only  gives  a 
succinct  account  of  his  life,  but  a  o-reat  deal  of  interesting  information 
about  his  music.  To  these  sources  I  beg  to  refer  the  reader  for  the 
details  of  Mozart's  marriage  and  later  life,  assuring  them  that  only  in 
the  life  of  Mendelssohn  dcj  we  find  equally  rich  musical  materials. 

In  1779  Mozart  produced  his  opera,  "  Idomeneo,"  the  first  upon 
which  his  present  fame  rests.  It  was  followed  during  the  next  ten 
years  by  "The  Marriage  of  Figaro,"  "Don  .luaii,'"' and  "The  Magic 
Flute,"  which  comprise  his  master-])ieces  in  this  department  of  com- 
position. These  operas  showed  a  marked  advance  over  similar  works 
of  preceding  composers,  chiefly  in  their  wealth  of  imagination  and  fancy, 
and  especially  in  their  geniality.  They  were  in  the  first  place  tauslral 
to  a  high  degree,  and  this  in  spite  of  the  unquestionabUi  science  dis- 
played in  the  concerted  pieces.  What  was  the  state  of  music  as  left 
by  Mozart's  predecessors?  Handel  gave  a  clear  form  to  melody, 
but  we  rarely  (md  liim  successful  in  avoiding  prolixity.  His  greatest 
sono-s  are  open  to  this  charg(>.  lu  the  line  of  delicate  sentiment  he  was 
also  out  of  his  element  to  a  degree  not  always  admitted  by  his  admirers. 
He  was  fully  successful  only  in  a  certain  rude  and  genial  energy,  and 
in  setting  passages  of  such  overpowering  emotional  import  as  to  carry 
him  beyond  himself.  In  such  airs  as,  "Oil,  ruddier  than  the  cherry," 
we  find,  to  be  sur(;,  freshness  to  the  last  degree  gratifying,  yet  it  is  not 
sentimental  music. 

Haydn,  as  we  have  already  seen,  developed  musical  life  as  such; 
for,  in  his  manifold  symphonies  and  quartettes,  we  find  musical  motives 
worked  out  in  a  manner  at  once  elegant  and  musical,  and  essentiallv 
independent  of  words  for  their  explanation.  At  the  same  time,  Haydn 
was  simply  genial  and  good  natural  iiwd  not,  in  a  high  degree,  ^^oe^^'c  or 
imaginative,  still  less  dramatic.  His  "Creation,"  indeed,  was  written 
after  Mozart's  death,  and  here  Haydn  l)uilds  on  Mozait,  ni>twithstand- 
ino-  that  twelve  or  fifteen  years  before  Mozart  had  l)iiilt  his  first  sym- 
phonies on  Haydn's  fouiidiition. 


lOG  now  TO   UNDERSTAND  MUSIC. 

In  Mozart's  operas  we  find  the  orchestra  treated  with  a  fullness 
greater  than  in  the  Ilaydn  syinijhojiies.  An  equally  masterly  working 
out  of  jxerminal  ideas  meets  us  here,  but  how  chano-ed  !  Mozart  had 
rich  imagination,  and  no  small  amount  of  the  dramatic  spirit.  He  had 
studied  singing  thoroughly,  and  well  knew  what  was  suitable  for  the 
voice.  Still  better,  he  knew  what  would  please  the  public.  And  those 
amateurs  who  hold  up  their  hands  in  blind  worship  of  Mozart's  operas 
(as  some  literary  men  do  of  every  thing  bearing  the  name  of  Shake- 
speare), imagining  that  he  evolved  them  out  of  a  prophetic  inner  con- 
sciousness, a  striving  after  the  ideal,  with  no  consideration  for  the  ap- 
proval of  the  public  of  the  day,  show  in  this  a  strange  ignorance  of  the 
man  and  his  music.  What  is  there  in  "  Figaro,"  1  ask,  unappreciable 
by  the  Prague  public  of  1787?  Nothing  at  all!  Of  this  the  best  proof 
is  that  it  was  played  the  lohole  Winter  long  in  that  theater  where  first 
brought  out.  It  is  not  the  fate  of  prophetic  masterpieces  (music  of  the 
future)  to  succeed  at  once  with  the  theater-going  public  like  that. 

Let  it  suffice  for  the  operatic  fame  of  Mozart  to  say  that  he  first 
wrote  melodies  of  matchless  grace  (see  '■^Vedrai  Ccirino^''''  in  Don  Juan) 
and  the  most  genial  and  bewitching  sentiment.  It  was  the  beautiful 
especially  in  its  lighter  aspects  that  Mozart  came  to  reveal.  These  he- 
witching  strains  of  opera,  ground  on  iiand  organs,  sung  by  amateurs, 
and  strummed  on  pianos  the  world  over,  were  exactly  the  new  revela- 
tion needed  to  render  music  a  household  word  among  all  enlio-htened 
people. 

Mozart's  indifference  to  all  but  music  is  further  shown  by  his  find- 
ing himself  able  to  set  such  objectionable  texts  as  "  Figaro"  and  "Don 
Juan;"  this,  as  we  shall  hereafter  see,  would  have  been  impossible  for 
Beethoven  or  Mendelssohn,  or  for  any  man  of  sensitive  moral  earnest- 
ness. Nor  do  I  find  myself  able  to  attribute  to  Mozart  the  dramatic 
ability  many  think  they  find  in  his  works.  But  to  discuss  this  would 
take  me  too  far.  In  the  opera,  then,  we  see  Mozart  reaching  the 
highest  triumphs  of  his  age,  namely,  fascinating  and  individualized 
melodies,  the  loveliest  instrumentation,  and  a  high  degree  of  dramatic 
contrast. 

In  the  symphony  his  success  was  almost  equally  great — although 
he  gives  no  foreboding  of  the  transition  from  the  purely  musical  sym- 
phony of  Haydn  to  the  tone-poem  symphony  of  Beetlioven.  His  great 
art  is  in  the  increased  wealth  of  instrumentation  he  displayed,  more 
dramatic  contrast,  and  an  incomparable  elegance  and  fascination  ot 
style. 

Mozart  left  a  great  many  string   quartettes,  duos,  etc.,  of  the  most 


MOZART.  1(J7 

lovely  cliaracter.  In  lliis  kiiul  of  composition  he  was  eminently  suc- 
cessful, as  the  iiistruuKMits  and  the  spluire  of  thai  kiml  of  iiiusi(,'  were 
as  well  understood  then  as  lujw. 

His  pianoforte  sonatas,  though  mucli  talked  aijcnit  in  school  cata- 
logues and  the  like,  are  really  old  fashioi.ed,  narrow  and  meagre  works; 
])OSsessing,  indeed,  beautiful  ideas,  yet,  on  the  whole,  so  far  inferior  to 
more  recent  ])rodu('tions  as  to  convey  but  an  extremely  imperfect  idea 
of  Mozart's  real  powers. 

Of  his  church  writino-  much  inia'ht  be  said.  He  left  a  larcfe  num- 
ber  of  masses,  nearly  all  composed  before  he  was  twenty,  and,  therefore, 
full  of  a  lively  spirit  of  cheerfulness  and  hope,  but  not  characterized  by 
the  deep  and  reverent  devotion  of  Bach  or  Handel.  Mozart  was  not 
distinctively  a  relitjious  writer,  but  a  worldhj.  He  was  fond  of  dancing, 
(jf  society,  loved  every  beautiful  woman,  liked  a  glass  of  wine,  and  in 
every  thing  was  the  opposite  of  the  ascetic,  self-forgetful  church  com- 
poser. Still,  these  works  contain  many  beautiful  movements,  and  give 
another  side  of  the  richly  endowed  Mozart  nature.  The  last  of  the  so- 
called  sacred  works  was  the  Requiem^  written  shortly  before  his  death, 
under  the  circumstances  so  well  known  as  not  to  require  recounting 
liere.  Tliis  '•  Mass  for  the  Dead"'  is  a  fittino;  climax  to  the  life  of  the 
great  com[)Oser. 

One  of  the  most  useful  services  of  Mozart  was  the  addition  of  wind 
and  brass  parts  to  the  score  of  Handel's  "Messiah'' — a  helpful  act 
which  has  undoubtedly  done  much  to  prolong  th(^  popidarity  of  that 
sublime  masterpiece.  Mozart  died  on  December  D,  1792,  at  the  early 
ac-e  of  thirty-five,  worn  out  by  hard  work  and  too  much  society. 

It  deserves  to  be  remembered  that  while  this  great  master  was  en- 
dowed by  God  with  a  wealth  of  musical  inspiration,  so  that  in  iliis  re- 
spect no  one  has  yet  surpassed  him,  iie  found  time  to  thoroughly  study 
the  works  of  his  predecessors — especially  of  Bach,  Handel,  Gliick  and 
Haydn;  and  thought  hims(ilf  not  above  the  drudgery  of  mastering  the 
theoretical  principles  of  his  art;  and  in  this  way  only  did  he  contrive 
to  leave  on  record  such  a  brilliant  list  of  beautiful  creations. 

PROGKANr>rK  OF  ^loZAItT  Tl.I.lSTnATTOXS. 

1.  (Employing  Soprano  tuid  Pianoforte). 

1.  Hympliony  in  C,  ".Tupitor,"  for  4  liancb,  Tlie  Piano. 

2.  Air,  "  Vcdrai  Carino"  from  "  Don  .luan,"  Soprano. 
;}.  Air,  "  Voi  Che  Sapcte  "  from  "Figaro,"  Soprano. 

■4.  a.  March  from  the  Magic  P^'lutc. 

b.  Menuet  in  E  flat,  arranged  by  Schulhoif,  Tlic  Pianoforte, 
o.  Air,  "  D.ive  Sono''  from  "  Figaro,''  Soprano. 
G.  The  OvcTtar;!  to  "Figaro"  for  four  Irnuls,  The  Piano.  .i 


168  now  TO   UNDERSTAND  MUSIC. 


CHAPTER   F0RTY-8IX. 

BEETHOVEN. 

All  our  studies  throughout  this  course  have  revolved  around 
Beethoven.  His  works  furnished  a  part  of  the  illustrations  of  the  very 
first  lesson,  and  there  is  scarcely  one  of  the  thirty-seven  practical  les- 
sons in  the  present  course  where  his  name  does  not  ai:)pear.  Not  only 
is  this  the  greatest  name  in  Music,  but  it  is  one  of  the  grreatest  that 
has  appeared  in  Art.  When  men  thiid<;  of  the  grace  and  refinement 
and  incomparable  beauty  of  his  work,  they  call  him  the  Raphael  of 
music,  althouofh  such  a  title  bv  rio-ht  should  belong  to  Mozart.  When 
they  listen  to  the  Heroic  S\^mphony  or  the  Mass  in  D  minor,  they 
call  him  the  Michael  Angelo,  or  the  Milton  of  music.  But  both  these 
are  misnomers.  Others  call  him  the  Dante  of  the  tone-art,  or  the 
Shakespeare.  These,  also,  are  unfriutful  suggestions.  There  is  no 
Shakespeare  in  music,  nor  can  be;  the  arts  are  too  dissimilar.  For 
the  same  reason  there  is  no  Raphael,  nor  Tintoret,  nor  Angelo  in  tones. 
Mozart  had  a  grace  and  sweetness  equal  to  that  of  Raphael's.  But  be- 
sides these  qualities  there  is  in  Mozart's  work  a  simplicity  and  unaf- 
fected naivete  peculiar  to  him.  The  grandeur  and  seriousness  of 
Milton  exist  in  music  also,  and  in  greater  measure,  but  without  the 
labored  and  somewhat  pedantic  form  of  Milton's  phraseology. 

What  we  do  have  in  Beethoven  is  a  genius  of  as  pure  a  ray  as  the 
world  has  ever  seen.  He  was  not  technically  the  most  scientific  of 
great  composers.  Bach,  Handel,  Haydn  and  even  the  genial  and  spon- 
taneous Mozart,  wrote  smoother  counterpoint,  and  traveled  more  easily 
within  the  lines  of  fugue.  Yet  Beethoven  knew  Music  bettor  than 
any  of  these,  and  left  works  which  out-rank  theirs  in  every  direction 
except  that  of  purely  formal  phraseology.  AVhat  wa^  it  then,  in  which 
Beethoven  excelled?  And  wherein  lies  the  secret  of  the  estimation  in 
which  he  is  held  by  the  whole  civilized  world? 

Beethoven's  greatness  as  a  composer,  and  his  influence  upon  tlie 
develojiment  of  music  since  his  day,  lies  in  one  point,  namely,  his  intui- 
tion of  the  relation  of  music  to  emotion.  As  already  pointed  out,  Bach 
wrote  more  learnedly,  Handel,  at    times,    quite   as   heartily,  Haydn    as 


BEETHOVEN.  169 

clearly,  and  Mozart  as  sweetly;  but  what  JBeethoven  does  is  to  avail 
himself  of  all  these  excellencies  of  form  and  substance,  in  order  to  ex- 
press feeling  through  them.  The  greatest  of  his  predecessors,  Bach, 
also  had  feeling  and  expressed  it  in  his  Passion  Music  with  great 
power.  But  his  style* is  not  easy,  the  phraseology  is  too  learned.  It 
seems  to  us  cold.  The  composers  after  him  relapsed  his  severity,  as  we 
have  seen.  Through  Handel,  the  sons  of  Bach,  Haydn,  and  Mozart  — 
the  World  and  Art  were  drawing  nearer  each  other.  In  Beethoven 
they  coalesce.  And  so  it  is  the  proud  pre-eminence  of  this  Master  to 
have  expressed  his  soul  in  music  aS  fully  and  as  exclusively  as  Sliakes- 
peare  expressed  his  in  his  jilays,  or  Raphael  in  his  cartoons,  and  with 
■  such  force  and  range  of  imagination,  and  such  exquisite  propriety  of 
diction,  that  all  the  world  immediately  listens  to  him.  Like  all  these 
geniuses  of  tlie  very  highest  rank,  his  soul  is  in  his  works.  His  daily 
life  is  nothing.  He  is  never  a  citizen,  magistrate,  a  teacher,  a  writor, 
a  talker,  or  a  man  of  property;  but  alvvays  and  only  a  creative  Artist. 
In  early  life  he  was,  indeed,  a  virtuoso,  not  through  study  and  drud- 
gery, but  by  sheer  force  of  the  overmastering  inspiration  within  him. 
The  world  used  him,  how  shall  we  say?  Well,  or  badly?  If  we 
reflect  upon  his' humble  origin,  his  steady  elevation  during  his  life- 
time into  the  hio-hest  estimation  ever  accorded  a  musician  and  com- 
poser,  his  comparative  immunity  from  want  or  the  necessity  of  drudg- 
ing toil  eitiier  in  teaching  or  playing,  and  this  through  the  ready  sale 
of  the  productions  of  his  pen — we  must  say  xoell.  On  the  other  hand, 
if  we  think  of  his  lack  of  education  or  early  training,  his  solitary  life, 
his  graceless  nephew,  his  deafness  and  his  suspicious  and  difficult  habit 
of  mind, — in  these  we  recognize  the  unfavorable  side  of  his  relation 
to  the  world;  and  when  we  think  that  all  this  befell  one  whose  creations 
have  added  delight  and  beauty  to  the  daily  lives,  not  only  of  his  con- 
temporaries and  compatriots,  but  to  that  of  the  whole  civilized  world 
in  three  generations,  we  can  not  hel[)  perceiving  here  a  certain  disso- 
nance the  resolution  of  which  we  are  not  able  to  trace. 

It  is  our  difficult  task,  therefore,  to  outline  the  life  of  this  man,  to 
describe  his  surroundings  and  personal  peculiarities,  and  to  trace  his 
mode  of  outward  life,  so  as  to  bring  him  before  our  minds  in  sume  re- 
semblance to  the  form  he  wore  in  the  eves  of  his  neighbors  and  friends; 
and  yet  along  with  tliis,  t(^  trace,  in  his  works, the  transcendently  beau- 
tiful operations  of  his  mind  and  Iiiikm-  nature,  and  to  hold  tlicm  up  as 
the  true  expression  of  the  Beethoven  soul,  which  they  most  certainly 
were.  If  in  doing  this  we  might  also  unite  both  pictures  into  one,  so 
that  we  could  think  of  Beethoven  as  a  humbly-born,  hardworking  boy, 


170  HOW  TO   UNDERSTAND  MUSIC. 

of  the  most  determined  "grit,"  yet  with  a  delicacy  and  sweetness  of 
fancy  which  is  absolutely  nobler  than  even  Shakespeare's  (for  Beetho- 
ven nowhere  descends  to  coarseness),  and  then  trace  his  growth  to  man- 
hood, his  steady  pursuit  of  his  one  ideal,  Music,  the  blessing  that 
followed  him  in  it,  and  that  has  followed  us  for  his  being  in  it;  and 
crown  the  whole  with  the  still  nobler  side  of  his  nature  in  his  un- 
selfish and  well-meant  love  and  providence  for  a  graceless  relative, 
when  he  himself  was,  as  we  ordinarily  say,  "a  crusty  old  bachelor"  of 
fifty; — if  we  could  bring  all  these  together  into  a  single  consistent 
idea  we  should  then  have  performed  for  the  reader  a  service 
indeed. 

Ludwig  van  Beethoven  was  born  at  Bonn,  the  Resldenz-Stadt  of 
the  Electors  of  Cologne,  in  1770.  His  father  was  tenor  singer  in  the 
Elector's  Chapel,  an  ill-natured,  drunken  fellow  with  a  shiftless,  easy- 
goiTig  wife.  They  lived  in  a  very  humble  way,  the  annual  income  of 
the  family  being  probably  less  than  three  hundred  dollars.  As  Mo- 
zart was  just  then  at  the  height  of  his  celebrity,  the  father  of  our 
Beethoven  was  in  no  small  degree  delighted  to  observe  the  promising 
musical  talent  of  the  boy — a  talent  which  manifested  itself  at  a  very 
earlv  ao:e.  There  was  music  in  the  family,  unquestionablv — Beetho- 
yen's  grandfather  having  been  an  organist  and  a  composer  of  credita- 
ble talent.  So  at  the  early  age  of  five  he  was  taken  in  hand  by  his  father 
and  set  Lo  work  in  the  laborious  German  fashion  to  learn  to  play  the 
piano  r.nd  the  violin.  The  crusty  father  is  said  to  have  pulled  him 
out  of  bed  in  the  middle  of  the  night,  to  make  him  fin.ish  up  the  prac- 
tice he  had  neglected.  Nor  was  the  practice  sweetened  for  him;  for 
the  boy  was  not  allowed  to  play  melodies,  many  of  which  came  to  him 
even  then  untaught,  but  only  the  exercises  then  most  approved  for 
practice. 

At  that  time  tne  works  of  Bach  held  high  honor  for  purposes  of 
study,  and  the  boy  Beethoven  was  so  thoroughly  exercised  in  them 
that  at  the  age  of  twelve  he  was  perfectly  familiar  with  the  entire 
forty-eight  preludes  and  fugues  of  the  "Well  Tempered  Clavier,"  and 
could  play  them  with  the  utmost  facility.  All  this  time  he  went  to 
the  public  school,  but  owing  to  his  father's  ambition  to  bring  him  out 
as  a  musical  wonder-child,  his  studies  in  letters  were  seriously  neg- 
lected. When  the  boy  was  about  eight  years  old  his  fatlier  turned 
him  over  to  the  teaching  of  one  Pfieifer,  an  oboe  player  and  pianist, 
under  whose  kindlier  direction  he  got  along  more  rapidly  and  no  doubt 
much  more  pleasantly.  Presently  the  organist  Neefe  took  him  in  hand 
and   tauo-ht   him  the   organ   and  composition,  so  that  when  twelve  or 


JiEETllOVE^.  171 

thirteen  years  old    he    apj)ears    as  autlior  of  three  sonatas  for  piano, 
vvliich  are  small,  but  very  clever  for  a  boy. 

For  some  time,  probably  since  his  tenth  year,  he  had  played  a 
viola  in  the  orchestra.  About  this  time  he  became  assistant  organist 
to  Neefe,  although  the  formal  appointment  was  not  received  until 
he  was  about  iifteen.  When  he  was  about  thirteen,  he  began  to  act 
as  pianist  and  assistant  director  in  the  orchestra  during  Neefe's  ab- 
sence, which  frequently  extended  over  several  months.  The  duties  of 
this  position  were  not  small.  Iligli  Mass  was  performed  in  church 
three  times  a  week  besides  Sunday,  and  on  at  least  as  many  days  there 
were  elaborate  vesper  services.  The  theater  gave  a  light  opera  or 
operetta  three  times  a  week,  and  comedies  on  other  nights,  for  all  of 
which  music  had  to  be  prepared.  This  kind  of  activity  seems  to  have 
continued  vuitil  Beethoven  was  about  twenty,  interrupted  only  by  his 
first  visit  to  Vieima,  where  he  somehow  managed  to  go  when  he  was 
about  sixteen.  Beethoven's  duties  as  organist  must  have  been  very 
unthankful,  since  the  old  organ  had  been  removed  from  the  chapel,  and 
in  his  time  only  a  small  chamber-organ  stood  in  its  place.  That  he 
had  no  special  vocation  for  the  organ  appears  plainly  from  his  never 
havino- written  aiivthino-  for  it.  The  particulars  of  his  Vienna  iournev 
are  rat'her  hypothetical,  especially  the  anecdote  of  his  having  played 
before  Mozart  and  receiving  lessons  from  him. 

During  all  these  years  he  attained  no  recognition  in  Bonn  as  a 
promising  artist.  On  the  several  lists  of  the  Elector's  musical  staff, 
the  name  of  Beethoven  figures  as  organist  and  player  of  clavier  con- 
certos, but  amid  many  who  are  distinguished  as  of  exceptional  talent, 
he  stands  unnoticed  and  undistinguished. 

The  theater  at  Boiui  produced  a  fine  selection  of  works  for  that 
dav,  amono-  which  were  the  best  of  Gliick's  operas.  On  the  whole  we 
can  hardly  imagine  a  place  better  calculated  to  familiarize  a  young 
composer  with  every  slightest  peculiarity  of  the  composers  before  his 
day,  than  Beethoven  found  in  his  six  years' service  as  assistant  director 
at  Bonn.  In  the  work  of  arranging  and  adapting  the  scores  to  the 
limitations  and  weaknesses  of  his  orchestra,  he  could  not  fi'.il  to  acquire 
rare  tact,  and  a  spontaneous  comprehension  of  all  effects  of  instrumenta- 
tion. He  played  the  piano  part  from  the  full  orchestra  score,  and  it 
was  thus  that  he  developed  that  lightning-like  com])rehension  of  the 
fullest  scores,  which  he  always  manifested.  Mendel  says  that  Max 
Franz  (the  Elector,  brother  of  Joseph  II)  when  he  appointed  Beethoven 
second  organist  furnished  funds  for  him  to  go  to  Vienna  to  make  more 
extended  studies. 


172  HOW  TO   UNDERSTAND   MUSIC. 

During  this  Bonn  life  Beethoven  early  attracted  the  attention  of 
the  von  Breunings,  a  wealtliy  and  refined  family  of  that  town,  aiid  at 
their  house  he  was  always  at  home.  No  doubt  it  must  have  required 
a  arood  deal  of  faith  in  the  diamond  concealed  in  his  rousfh  exterior,  for  the 
fine  von  Breunings  to  have  made  so  much  of  so  unpromising  a  customer 
as  the  boy  Beetlioven.  He  was  moody,  often  irritable.  He  was  the 
very  prince  of  awkwardness,  upsetting  and  breaking  every  fragile 
article  he  came  near.  Still  "there  seems  to  have  been  a  charm  about 
him,  for  as  we  shall  see  later,  he  was  through  life  a  favorite  among  the 
best  people,  especially  the  ladies,  of  an  elegant  and  ceremonious  court. 
Here  at  the  Breunings'  he  became  familiar  with  the  books  and  pictures 
denied  him  at  home.  Count  Waldstein,  also,  was  one  of  the  friends 
he  made  in  this  early  time,  and  who  always  remained  true  to  him.  It 
was  Waldstein  who  recommended  him  to  the  notice  of  the  titled 
relatives  of  his  family  when  Beethoven  came  to  Vienna  to  live;  and 
it  was  to  Count  Waldstein  that  in  1803  the  brilliant  sonata  in  C,  op. 
53,  was  dedicated. 

In  personal  appearance  Beethoven  must  have  been  rather  striking. 
He  was  of  medium  height  (or  rather  under),  thickset,  a  noble  forehead, 
small,  brown  eyes,  deeply  set  in,  very  profuse  hair,  generally  "'  tow- 
seled,"  his  dress  of  rather  common  texture  originally,  but  now  rich 
with  the  sedimefitary  deposits  of  many  brushless  months.  His  hands 
are  well  shaped,  but  the  nails  are  not  well  kept.  In  movement  he  is 
quick  and  abrupt,  often  boorish.  This  want  of  politeness  adhered  to 
him  through  life.  Still,  it  was  his  lot  to  associate  with  many  eminent 
men,  and  from  them  he  doubtless  imbibed  a  o-reat  deal  of  cultivation. 
His  manners  must  liave  been  worse  about  the  time  of  his  departure 
from  Bonn  and  first  entrance  into  Vienna  than  afterwards. 

As  to  his  self-conceit,  all  testimony  proves  it.  Nor  is  it  difficult  to 
account  for  it.  It  must  have  been  perfectly  apparent  to  Beethoven 
that  he  was  able  to  improvise  music  of  such  rare  power  over  the  feel- 
ings that  nothing  of  Haydn's  or  Mozart's  or  Handel's  could  be  compared 
with  it.  We  read  remarkable  stories  of  this  faculty.  As,  for  instance: 
"  Ignace  Pleyel  had  brought  some  new  quartettes  to  Vienna,  which 
were  performed  at  the  house  of  Prince  Lobkowitz.  At  the  close, 
Beethoven,  who  was  present,  was  asked  to  play.  As  usual,  he  had  to 
be  pressed  again  and  again,  and  at  last  was  almost  dragged  by  force 
to  the  instrument  by  the  ladies.  With  an  impatient  gesture  he 
snatched  from  the  violin  desk  the  open  second  violin  part  of  Pleyel's 
quartette,  threw  it  on  the  desk  of  the  pianoforte  and  began  to  impro- 
vise.    His  playing  had  never  been  more   brilliant,  original    and  grand 


BEETHOVEN.  173 

than  on  that  evenin<^.  But  through  the  whole  improvisation,  in  the 
middle  parts  ran  like  a  thread  or  canto  fermo  the  notes,  unimportant 
in  themselves,  of  the  accidentally  open  page,  on  which  lie  built  the 
noblest  melodies  and  harmonies  in  the  most  brilliant  concert  style. 
Old  Pleyel  could  only  show  his  astonishment  by  kissing  his  hands. 
After  such  improvisation  Beethoven  would  break  out  into  a  loud, 
merry,  ringing  laugh." 

This  is  the  spirit  of  hisfiist  entrance  upon  the  Vienna  lifti  in  1T93. 
Here  he  lived  until  his  doatii,  in  lb27.  At  first  he  was  the  pupil  of 
Haydn,  who  since  Mozart's  death,  was  king  again.  For  these  lessons 
his  fee  was  exactly  eight  groschen,  eighteen  cents!  Later  he  went  to 
Albrechtsberger  for  lessons  in  counterpoint,  and  to  Salieri  for  lessons 
in  dramatic  composition. 

As  early  as  1800  he  began  to  be  hard  of  hearing,  gradually  in- 
creasing to  almost  total  deafness  as  early  as  1810.  This  affliction,  as 
well  as  the  false  behavior  of  his  two  brothers,  his  nearest  relatives,  had 
the  effect  to  cloud  his  mind  with  suspicion  of  all  the  people  around  him. 
In  the  period  from  179:^  to  1810,  he  produced  a  constant  succession  of 
the  noblest  works.  Before  he  had  got  beyond  the  fifth  symphony  the 
critics  had  begun  to  talk  of  his  "obscurity","  "  want  of  melody,"  etc., 
just  as  they  did  a  few  years  ago  of  Schumann,  and  just  as  they  do  now 
of  Wao-iier.  Yet,  he  seems  to  have  cared  very  little  about  it,  and  said 
that  if  it  amused  them  to  be  constantly  writing  such  things  about  him 
they  might  be  freely  indulged. 

His  personal  habits  were  whimsical  enough.  One  lodging  was 
too  high;  anotlier  he  left  because  the  landlord  was  too  obsequious. 
He  would  walk  his  room  half  the  night  through,  "  howling  and  roar- 
ing" the  melodies  that  filled  his  imagination,  and  flooding  the  floor 
and  ruining  the  ceiling  and  tempers  of  the  occupants  of  the  rooms  below 
with  the  water  he  poured  over  his  hands  to  cool  his  feverishness.  He 
would  hire  a  boy  to  pump  water  over  his  hands  by  the  hour  together. 
It  is  related  apropos  to  his  carelessness  in  money  matters  that  "  tlie  wait- 
ers in  the  cafes  in  Vienna  were  content  to  be  unpaid  sometimes,  if  they 
were  paid  double  and  treble  the  next  day.  It  was  not  worth  while  to 
quarrel  with  a  privileged  person,  who  always  had  the  laugh  on  his  side, 
and  had  been  known  to  throw  a  dish  of  meat  at  the  head  of  a  waiter 
suspected  of  cheating.  Here,  after  the  close  of  his  day's  labor,  he  ap- 
peared at  his  best,  and  those  who  knew  liim  speak  of  his  loud  laugh- 
ter, his  richness  and  originality  of  conversation,  his  wit,  Ixild  and  reck- 
less as  his  harmonies,  his  strong  opinions,  his  interest  in  books  and 
politics.     On  all  hands  we  see  the  signs  of  the  broad    and   wholesome 


174  now  TO    L'NDERSTAND   MUSIC. 

huiiiaiiity  which  formed  the  o-round  of  his  stranijelv  mi  nailed  character. 
SO  much  caricatured  aud  so  little  understood  by  the  retailers  of  anec- 
dote, who  can  see  in  Beethoven  nothing  ])ut  an  inspired  artist,  and  a 
mixture  of  misanthropy  and  buffoon."*  "  To  his  friends  he  was  a  warm 
hearted,  unselfish  friend,  not  to  be  treated  carelessly,  much  less  to  be 
played  with  or  slighted;  a  friend  whose  friendship  was  worth  a  sacri- 
fice, because  it  was  founded  on  perfect  sincerity,  could  endure  no 
suspicion  ,of  insincerity  in  others.  That  Beethoven — great  Mogul  as 
he  was,  and  capable  of  many  unmannerlv  words  and  actions — was  not 
unacceptable  to  those  who  loved  good  society,  we  may  learn  from  the 
fact  of  his  having  always  been  well  received  by  the  great  ladies  of  a 
ceremonious  court.  It  was  true  that  his  dress  was  untidy  to  dirtiness; 
that  he  picked  his  teeth  with  the  snuffers,  upset  inkstands  into  the 
pianoforte,  and  broke  every  thing  he  touched;  and  that  he  had  been 
known  to  play  off  ill-bred  practical  jokes  on  some  of  his  friends;  but 
in  spite  of  all  incongruities,  princesses  and  countesses — nay,  person- 
ages of  still  higher  rank — received  him  as  an  equal  or  a  superior 
This  result  could  hardly  have  been  brought  about  by  his  music  alone. "f 

From  1800  to  1S06  Beethoven  was  in  the  height  of  his  creative 
activity.  During  this  time  he  produced  the  sonatas  opus  22  to  57,  the 
third  and  fourth  symphonies,  a  number  of  chamber  pieces  (quartettes, 
trios,  etc.),  and  the  opera  "  Fidelio."  This  creative  activity  continued, 
with  little  falling  off  in  speed,  and  with  a  decided  progress  in  the 
quality  of  the  work  produced,  down  to  1815,  by  which  time  he  had 
written  all  the  nine  symphonies  except  the  last.  These  years  were 
especially  productive  in  smaller  works — such  as  songs,  bagatelles  of 
various  kinds,  three  sets  of  Scotch  and  Irish  airs,  arranged  with  ritor- 
nellos  and  accompaniments. 

Beethoven  was  now  forty-five  years  of  age.  He  was  in  ill  health, 
probably  for  want  of  proper  care  of  himself.  He  was  overrun  with 
commissions  from  publisher^,  and  had  the  most  flattering  offers  to 
travel  in  different  countries,  of  which,  however,  he  was  too  fond  of 
Vienna  and  too  ignorant  of  the  world  to  take  advantage.  At  this  period 
misfortune  befell  him,  in  the  shape  of  a  nephew — the  son  of  his 
brother  Carl — left  in  his  guardianship.  As  already  shown,  there  were 
undesirable  streaks  in  the  Beethoven  family.  This  had  not  been 
mended  by  Carl's  marrying  a  shiftless  woman,  of  bad  repute, 
and  it  was  the  product  of  this  union  that  was  left  in  the  com- 
poser's care.  He  undertook  the  task  in  the  loftiest  spirit.  Hence- 
forth for  eleven  years  the  boy  regulated  all  the  affairs  of  Beethoven's 

•"Lives  and  Letters  of  \ieet\\o\en."—Edinburg  Review,  Oct.,  1853.  fH'''^' 


BEETHOVEN.  175 

menage,  and  a  most  thankless  time  the  old  gentleman  had  of  it.  The  very- 
worst  housekeeping  bachelor  tliat  ever  was  was  a  jjrince  of  managers 
compared  with  Beethoven.  IL'  IkkI  not  the  slightest  "  faculty "  for 
business.  It  discomposed  him  to  be  obliged  to  transact  the  most  or- 
dinary affairs.  Wo  may  well  imagine  what  a  time  he  had  of  it  with  a 
reckless,  ungrateful  youth  on  his  hands.  His  love  was  repaid  with  in- 
gratitude, and,  to  crown  all,  the  nephew  seems  to  have  been  responsi- 
ble for  his  uncle's  deatli;  f(jr,  when  sent  for  a  doctor,  he  carelessly 
gave  the  message  to  a  billiard  marker,  who  forgot  it  for  a  day  or  two, 
and   wh(Mi  tlie  doctor  arrived  there  was  no  longer  a  possibility  of  cure. 

These  last  years  of  Beethoven  are  sad  in  the  extreme  That  a  man 
should  have  had  so  much  (greatness,  vet  so  little  comfort!  That  his  in- 
ner  world  should  have  been  so  full  of  lovely  fancies,  which  he  has  left 
on  record  for  the  gratification  of  aftercorning  generations,  and  yet  his 
own  daily  life  have  been  so  unblessed  by  woman's  teiid;M-ness,  and  the 
amenities  of  home,  is  one  of  the  mysteries  of  life.  Y(;t  we  may  l^e  glad 
that  Beethoven  undertook  the  care  of  this  boy,  and  stuck  to  it  so  man- 
fully; for  his  letters  and  the  whole  history  of  this  time  place  his 
character  in  a  much  nobler  lio;ht  of  self-sacrifice  than  would  otherwise 
have  been  the  case.  And  as  to  the  works  we  might  else  have  had 
from  this  period,  our  composer  has  already  left  the  highest  monument 
so  far  in  the  world  of  music.  Surely  it  is  better  for  us  to  know  that 
he  was  a  noble-hearted,  true  man,  than  for  us  to  liave  had  another  sym- 
phony. Besides,  there  is  no  doubt  that  this  discipline,  painful  as  it  was, 
must  have  wrought  a  great  softening  and  deepening  in  Beethoven's 
disposition.  , 

\n  IT'25  he  imagined  himself  in  poverty.  Moscheles,  who  was 
then  in  London,  wrote  to  him,  and  arranged  for  the  London  Philhar- 
monic Society  to  give  a  concert  for  his  benefit,  in  return  for  wliich  he 
was  to  write  them  a  tenth  symphony.  This  concert  was  given  and  a 
sum  of  £100  made  up  and  sent  to  Beethoven  a  short  time  before  he 
died.  The  whole  correspondence  may  be  found  in  Moscheles'  edition 
of  "  Schindler's  Life  of  Beethoven,''  and  in  Moscheles'  "Recent  Music 
and   Musicians." 

Beethoven  died  ]\Larch  29,  1827,  at  the  age  of  fifty-seven,  during 
a  violent  thunderstorm.  He  was  buried  at  Wahring,  a  small  village 
near  Vienna,  and  was  followed  to  the  grave  by  an  immense  concourse 
of  people  (over  twenty  thousand,  some  say). 

Beethoven's  genius  was  distinctly  that  for  expressing  feeling. 
Feeling  is  the  source  of  the  all-penetrating  unity,  which  is  perhaps 
one  of  the  most  conspicuous  marks  of  his  work.     We  do  not  mean  by 


irO  HOW  TO   UNDERSTAND   MUSIC. 

this  that  he  is  always  in  a  passion,  or  under  the  influence  of  some 
dark  or  disturbing  mood.  Far  from  it.  The  genius  of  his  music  is 
characteristically  the  peaceful^  the  tranquil.  In  these  (jualities  he  is 
hardly  surpassed  by  Mozart.  It  is  the  unity  and  the  repose  of  the  great, 
the  lasting,  the  true.  Beethoven  was  extremely  fond  of  the  open  air 
and  the  country.  When  the  weather  was  fine  he  would  spend  whole 
days  and  half  the  nights  wandering  about  the  fields  or  stretched  at 
ease  in  the  shade  of  a  tree.  In  these  walks  his  eye  was  quick  to 
notice  every  pleasant  bit  of  landscape,  every  pretty  flower,  or  effect  of 
light,  and  if  he  had  a  companion,  he  remarked  upon  these  things  with 
warmth  and  force. 

Such  beauty  and  quiet  took  musical  shape  within  him.  Out  came 
the  memorandum  book  of  music-paper  roughly  stitched  together,  and 
the  walk  and  discourse  gave  place  to  that  curious  "howling  and  roar- 
ing" with  which  his  labor  of  composition  was  always  accompanied. 
His  published  works  are  full  of  ideas  which  may  be  traced  sometimes 
for  years,  through  wide  and  strange  changes  from  the  forms  in  which 
they  at  first  suggested  themselves  to  him  to  the  shape  in  which  they 
were  at  last  employed.  Those  tranquil  days  under  the  pleasant  sky 
are  all  expressed  in  his  music.  Of  sucli  a  spirit  are  the  pianoforte 
sonatas  in  E  and  G,  o]).  14,  the  "pastoral,"  op.  28,  tliat  in  G,  op.  31, 
and  several  of  those  for  piano  and  violin,  as  well  as  the  pastoral 
symphony,  and  the  seventh  and  eighth.  In  deriving  his  inspiration 
from  external  nature  as  a  source,  Beethoven  was  like  Schubert,  in 
whom  every  movement  of  soul  translates  itself  into  tones.  With 
Beethoven  there  is,  however,  this  difference,  that  he  selects  the  more 
significant  for  publication,  and  then  shapes  and  prunes  it  with  more 
care.     Beethoven  is  never  too  long;  certainly  never  tedious. 

Another  of  the  most  remarkable  peculiarities  of  Beethoven's  music 
is  the  clearness  and  l^eauty  of  his  orchestral  coloring.  No  other  com- 
poser knows  better  just  where  to  throw  in  a  few  notes  of  the  flute,  a 
soft  low  tone  of  the  horn,  a  clever  bit  of  the  bassoon,  or  just  how  to 
place  a  subordinate  phrase  in  order  to  have  it  express  itself  without 
interferinof  with  the  blendino;  and  harmonv  of  the  whole.  This 
delicious  reserve  is  one  of  the  most  eminent  traits  of  the  symphonies, 
although  no  doubt,  a  part  of  it  is  apparent  only,  and  due  to  the  re- 
markable heio-htenins:  and  streno-thenina:  of  orchestral  coloring  since 
his  day. 

Were  we  to  attempt  to  measure  up  and  estimate  the  place  of 
these  works  on  the  scale  of  beauty,  we  should  be  first  struck  with 
their  elegance,  clearness  and  the  agreeable  nature  of  their  sound.     They 


BEETHOVEN.  177 

have  for  pleasure  of  sensation  all  that  they  could  have  and  still  retain 
their  distinguishing  olcvation  of  sentiment,  in  foniuil  beauty,  like- 
wise, they  hold  an  oxtrcmoly  high  rank,  porliaps  as  high  as  any.  There 
is  in  Mozart  a  certain  sweet  and  spontaneous  grace,  an  unconscious 
sweetness,  such  as  we  rarely  find  in  Beethoven;  but  Beethoven  com- 
pensates for  this  lack,  if  lack  there  be,  by  a  greater  coherence  and 
unity,  through  which  he  reaches  a  more  serene  repose,  especially  in 
the   classical   moments    of  his    art. 

And  then,  finally,  we  come  to  the  symphonies.  Those  are  the 
thoughts  Beethoven  had  while  he  lay  under  the  trees  out  in  thecountrv. 
Far  on  into  tlie  night  ho  would  wander,  and  drink  in  his  fill  of  the 
silent  teaching  of  nature.  Here  in  the  symphonies  we  have  them  all. 
If  in  the  pastoral  symphony  wc  have  a  moment  of  pleasantry  in  the 
bird  song  or  two,  it  is  thrown  in  only  to  bring  us  still  nearer  the  in- 
scrutable mystery  of  the  growing  grass;  nearer  to  the  trees,  by  their 
subtle  chemistry  building  themselves  up  out  of  intangible  air  and  the 
hidden  riches  of  the  ground;  nearer  to  the  light  nnd  fleecy  clouds,  and 
the  golden  and  crimson  sunset,  fitly  emphasizing  the  finished  day,  ever 
more  to  be  numbered  with  the  infinite  ages  of  God;  and,  above  all, 
nearer  to  the  greater  mystery  of  thoughtful  life,  the  imago  of  the  In- 
visible, the  sure  witness  of  the  Infinite.  Nv^  other  instrumental  music 
so  completely  seizes  and  exalts  the  hearer. 

The  inner  nature  of  Beethoven  allies  him  to  Bach.  They  were 
both  universal  musicians,  inu'vators  and  experimenters  in  every  direc- 
tion, according  to  the  light  and  resources  of  their  respective  genera- 
tions. Both  found  in  a  particular  style  and  form, afield  which,  on  the 
whole,  satisfied  them  and  afforded  room  for  the  elaboration  of  their 
most  beautiful  ideas.  Bach's  was  the  fuo-ue.  There  was  no  kind  of 
musical  production  known  to  Bach's  day  which  he  did  not  to  some  ex- 
tent try,  except,  perhaps,  the  opera.  The  suite,  church  pieces,  organ 
works,  and  compositions  for  violin  and  almost  every  instrument,  he 
produced  in  large  quantities.  But,  after  all,  the  one  form  which  he 
always  adopted,  or  came  back  to  for  a  climax,  was  fugue.  This  great 
form,  the  ne plus  ultra  of  musical  logic,  was  not  original  with  Bach. 
On  the  contrary  it  had  been  worked  out  by  three  centuries  of  experi- 
menters and  geniuses,  until  it  assumed  the  form  in  which  Bach  found 
it,  and  in  which  it  is  in  eff'ect  the  valid  and  final  solution  of  coherent 
tonality.  Counterpoint,  which  is  the  basis  of  fugue,  is  the  exiiaustive 
solution  of  melodic  invention.  Bach's  work  was  to  seize  this  form  and 
appropriate  it  to  the  needs  of  musical  revelation.  Tie  filled  it  full  of 
novelty,  grandeur,  caprice,  humor,  true  musical   feeling  and   beauty. 


178  HOW  TO   UNDERSTAND  MUSIC. 

He  exhausted  it,  completely  filled  up  the  capacity  of  the  form,  so 
that  since  Bach  there  is  no  longer  any  thing  new  to  be  said  in 
Fugue. 

In  like  manner  Beethoven  was  a  composer  of  sonatas.  The  role 
'of  his  works  embraces  every  kind  of  production  known  in  his  day;  but 
the  one  form  which  he  made  liis  own,  and  in  which  his  most  beautiful 
and  characteristic  ideas  are  expressed,  is  the  sonata.  This  form  includes 
his  thirty-three  for  piano  solo,  which  would  eternally  have  estab- 
lished his  fame  if  they  alone  had  constituted  his  serious  works;  nine- 
teen sonatas  for  piano  and  other  instruments;  eighteen  trios,  mainly 
for  piano  and  other  instruments;  twenty-three  quartettes  and  quin- 
tettes; the  sextette  and  septette,  and  the  nine  symphonies.  In  all,  more 
tluDi  three  thousand  large  pages  of  sonata  writing.  Beethoven,  like 
Bach,  was  in  every  way  progressive  and  an  innovator.  He  experi- 
mented in  all  forms,  and  in  all  combinations  of  means  of  expression. 
Yet,  on  the  whole,  he  was  a  composer  of  sonatas. 

This  form  he  found  ready  to  his  hand  in  the  works  of  Haydn  and 
Mozart.  The  form,  as  such,  he  accepted  with  little  improvement.  But 
he  put  into  it  such  a  wealth  and  many-sided  possibility  of  expression 
as  surpassed  tlieir  efforts  in  every  direction,  and  amounted  finally  to 
completely  exhausting  the  subject.  There  have  been,  really,  no 
genuine  composers  of  sonatas  since  Beethoven.  Every  great  master 
has  tried  it  out  of  deference  to  public  opinion,  but  the  chief  ideas  and 
distinctive  excellencies  of  all  composers  since  Beethoven  are  expressed 
in  other  forms  and  not  in  the  sonata.  Even  in  symphony,  where  they 
have  enjoyed  tlie  inestimable  advantages  of  modern  wealth  in  instru- 
mentation, no  one  has  been  able  to  create  works  at  all  equal  to  his,  or 
even  such  as  add  any  thing  essentially  new  and  important  to  what  he 
has  said. 

Again,  Bach  and  Beethoven  were  both  of  them  characteristically 
instrumental  composers.  Although  both  have  written  v/orks  employ- 
ing the  human  voice  in  solo,  ensemble  and  in  great  masses,  and  have 
therein  reached  the  most  sublime  heights  yet  attained  in  musical  crea- 
tion, they  have  in  all  cases  treated  the  voice  like  an  instrument,  and  with 
almost  total  disregard  of  the  conditions  of  its  agreeable  and  pleasing 
exercise.  This  limitation,  of  course,  is  a  detraction  from  their  success, 
for  if  they  were  to  use  the  voice  at  all,  there  was  no  valid  reason  why 
its  convenience  and  inherent  capacity  should  not  be  as  much  regarded 
as  that  of  any  other  instrument.  Bach  and  Beethoven  are  both  of 
them  exponents  of  the  inner  in  music.  While  they  both  reach  the 
highest  mark  of  formal  beauty,  they  do  so  accidentally,  so  to  say;  as  an 


BEETHOVEN.  170 

incidental    result    of   the    spontaneous    expression    of   the    inner    and 
spiritual. 

•Beethoven  marks  a  g'iant  stride  in  musical  progress  since  Bach,  in 
the  direction  of  the  luiinoristic.  Bach  himself  was  full  of  this 
spirit,  and  of  playful  phantasy,  as  all  his  works  show.  But  the  new 
forms  developed  or  perfected  by  Haydn  and  Mozart,  and  lln-  lessons 
tau<rht  by  their  disregard  of  scholastic  tradition,  and  especially  the 
vigorous  flight  of  his  own  all-comprehending  and  untamed  spirit,  en- 
abled Beethoven  to  go  vastly  farther  than  Bach  in  tliis  direction,  and 
to  reveal  music  in  its  true  nature  as  spontaneous  expression  of  heart, 
feeling,  and  imagination.  x\nd  thus  he  not  only  concentrated  in  himself 
and  fulfilled  all  the  tendencies  and  prophecies  of  musical  history  be- 
fore him,  and  enriched  the  world  with  some  of  the  most  precious  and 
immortal  productions  of  the  human  spirit,  but  afforded  in  turn  the  most 
pregnant  tokens  of  possibilities  in  music  yet  unrevealed  —  indications 
of  new  paths,  which  the  great  masters  since  have  occupied  themselves 
in  exploring. 

T.isT  OF  Beetiiovex  Illustrations. 

1.  {Moderately  Difficult,    Employing  the   Pianoforte  and  Tencr.) 

1.  Sonata  in  Gr,  op. '14,  No.  2. 

2.  Menuet  in  E  flat  out  of  Sonata  op.  31, No.  3. 

3.  Scherzo  in  C,  out  of  Sonata  op.  2,  No.  3 

4.  "Adelaide."     Tenor. 

5.  "  Niclit  zu  Geschwind,"  out  of  Sonata  in  E,  op.  90. 

6.  Rondo  in  G,  op.  51,  No.  2. 

3.  Difficult. 

1;  Sonata  Appassionata,  op.  57. 

2.  Air  and  Variations  in  A  flat,  op.  2G. 

3.  "Adelaide."     Tenor. 

4.  Sonata  in  A  flat,  op.  110. 

5.  Rondo  Capriccioso,  op.  129. 


180  HOW   TO    LMDEKSTAJSD   MUSIC. 


CHAPTER   FORTY-SEVEN. 

MENDELSSOHN. 

Felix  Mendelssohn  was  born  in  Hamburg,  February  3,  1809.  He 
was  the  son  of  x\braham  Mendelssohn,  a  banker,  a  man  of  very  refined 
tastes,  and  grandson  of  Moses  Mendelssolin,  the  eminent  Rabbi  and 
philosopher.  The  name  Bartholdy  was  his  mother's,  and  was  taken 
later  in  life  as  a  condition  of  some  property  inheritance.  Felix  was 
the  second  of  four  children,  of  whom  Fanny,  the  eldest,  manifested  the 
most  remarkable  talents  in  music.  When  Felix  was  only  three  or  four 
years  old  the  family  removed  to  Berlin,  At  the  age  of  eight  he  al- 
ready played  the  piano  well.  The  theorist  Zelter  was  his  teacher  in 
composition,  and  Berger  in  piano  playing.  When  only  twelve  he  was 
pronounced  by  Zelter  his  best  scholar.  In  1824  Zelter  wrote  to  Goethe: 
"  Yesterday  evening-  Felix's  fourth  opera  was  brought  out  here  iu  a  little 
circle  of  us,  with  the  dialogue.  There  are  three  acts,  which,  with  two 
ballets,  occupied  about  two  hours  and  and  a  half.  The  work  was  re- 
ceived with -much  applause.  I  can  hardly  master  my  own  wonder  how 
the  boy,  who  is  onl^-  about  fifteen,  has  made  such  progress.  Every- 
where you  find  what  is  new,  beautiful  and  peculiar  —  wholly  2:)eculiar." 

In  the  year  1824  he  became  the  piano  pupil  of  Moscheles,  and  so 
began  the  long  and  delightful  intimacy,  which,  like  a  golden  thread, 
runs  through  the  volumes  of  ^lendelsschn's  charming  letters  and 
Moscheles'  "  Recent  Music  and  Musicians." 

In  1829  Mendelssohn  started  to  visit  London.  He  made  a  long 
tour  through  many  places  of  interest,  especially  in  Italy,  before  he 
reached  England.  Among  the  new  pieces  he  brought  to  show 
Moscheles,  were  his  overture  to  "  FingaFs  Cave,"  "  AValpurgis  Night," 
and  his  G  minor  concerto  for  piano-forte  and  orchestra.  In  London, 
Mendelssohn  was  rapturously  received.  His  organ  playing  excited  the 
greatest  astonishment,  and  remains  to  the  present  day  a  bright  tradi- 
tion with  English  musicians.  Yet  it  is  but  fair  to  say  that  .the  opinion 
there  held  of  his  organ  playing  was  by  no  means  shared  by  the  best 
authorities  in  Germany.  There  is  very  good  reason  for  believing  that 
his  pedal  technic  was   by   no   means  superior,  however  charming   his 


MENDELSSOHN  181 

manipulation  and  registration  may  have  been.  Be  this  as  it  may,  he 
undoubtedly  gave  a  decided  impetus  to  English  organ  playing,  es- 
pecially to  the  study  of  Bach. 

Mendelssohn  came  to  Leipsic  in  1835,  and  remained  there  all  but 
one  year  of  the  rest  of  his  life.  lie  assumed  direction  of  the  Gcwand- 
haus  concerts,  which,  henceforth,  reached  a  delicacy  unknown  to  them 
before.  The  oratorio  of  "  St,  Paul  "  was  written  for  tlie  Lower  Rhine 
Musical  Festival,  held  at  Diisseldorf  in  1836.  It  excited  tlie  highest 
enthusiasm. 

In  the  SjDring  of  1837  Mendelssohn  was  married  to  Miss  Cecilia 
Jeanrenaud,  of  Dresden,  a  daughter  of  a  clergyman,  with  whom  he 
lived  very  happily  until  his  death. 

"  St.  Paul  "  was  brought  out  at  the  Birmingham  festival,  in  1838, 
where  it  at  once  took  a  high  place.  Three  of  his  psalms,  "As  the  Hart 
Pants,"  "O  Come  let  us  Sing,"  and  the  one  hundred  and  fifteenth 
were  the  product  of  this  period. 

In  184:3  the  Leipsic  Conservatory  was  opened  with  about  sixty 
j)upils.  The  teachers  were  Mendelssohn,  Schumann  (pian(j),  David 
(violin),  and  Becker  (organ).  Other  teachers  were  soon  added.  This 
renowned  institution  seems  to  have  been  chiefly  the  creation  of  Men- 
delssohn's brain,  and  to  him  it  owes  its  character.  It  has  turned  out  a 
a  vast  number  of  pupils,  all  more  or  less  well  grounded  in  music.  No 
school  has  had  greater  influence  in  this  country.  There  is  one  draw- 
back to  the  association  of  a  man  like  Mendelssohn  with  such  a  school, 
namely:  that  after  he  leaves  it  his  charming  manner  and  peculiar  ideas 
become  the  ideal  which  places  subsequent  directors,  however  talented,  at 
a  disadvantage.  There  is  some  reason  to  believe  that  the  Leipsic  school 
has  not  been  entirely  free  from  this  failing.  One  good  point  about  this 
school  must  not  be  overlooked:  that  there  they  always  hold  content  for 
the  first  merit  of  a  work.  This,  in  a  town  enriched  l)y  the  labors  of 
Bach,  and  ^Mendelssohn,  and  Schumann,  is  what  we  might  expect. 

Space  does  not  permit  to  follow  closely  Mendelssohn's  subsequent- 
career.  It  embraced  a  year's  residence  in  Berlin,  frequent  visits  to 
England,  where  he  brought  out  "  Elijah,"  in  1840,  as  well  as  constant 
appearances  throughout  Germany,  as  director,  composer  and  pianist. 
His  life  was  a  ceaseless  round  of  activity,  and  it  is  little  wonder  that 
the  delicate  frame  wore  out.     lie  died  in  Leipsic,  November  4,  1847. 

In  personal  appearance  Mendelssohn  was  rather  under  the  me- 
dium size,  graceful  '\\\  walk  and  bearing.  His  forehead  was  high  and 
arched,  his  nose  delicate,  slightly  Roman;  his  mouth  fine  and  firm,  and 
his  head  covered  with  glossy,  black,  curly  hair.     His  countenance  was 


182  HOAY    TO    UJNDEKbTAJSD  MUyiC 

A'ery  expressive,  and  his  whole  manner  fascinating  in  the  extreme.  He 
Avas  the  idol  of  men  and  women  alike  in  every  circle  where  he  moved. 
He  inherited  large  means,  which  he  freely  dispensed  in  the  most  deli- 
cate and  unostentatious  charities.  His  entire  indejiendenceof  the  need 
of  labor  for  sustenance  gave  no  slackening  to  his  ardor  in  compositionc 
In  my  opinion,  Mendelssohn's  chief  characteristics  must  have  been  his 
genial  fancy,  his  exquisite  taste  and  kind  heartedness.  In  his  charm- 
ing letters  from  Italy  and  Switzerland  we  have  these  qualities  fully 
exhibited.  Two  more  delightful  books  than  those  of  his  letters  do  not 
adorn  literature.  The  same  qualities  shine  out  in  his  music.  Every- 
where we  meet  a  romantic  and  delicate  fancy,  a  sjirightfulness  and 
ever-present  sense  of  the  beautiful,  which  carries  us  back  to  Mozart. 

As  a  composer  Mendelssohn  built  on  Bach.  By  this  I  mean  that 
Bach  stood  to  him  as  a  model  of  true  greatness  in  music.  It  was  not 
possible  for  such  a  nature  as  Mendelssohirs  to  emulate  the  lofty  repose 
of  Bach's  greatest  things.  Still  everywhere  in  his  serious  moments  we 
find  the  traces  of  the  iiiiluence  of  the  sober  old  Leipsic  cantor. 

Mendelssohn's  greatness  as  a  composer  lies  in  his  oratorios  and 
psalms.  Brendel  regards  these  as  no  longer  religious  works,  strictly 
speaking,  but  as  "concert  oratorios,"  in  which  he  thinks  the  worldly 
element  comes  fortli.  In  this  he  is  right  to  a  certain  extent.  Handel's 
"  Messiah  "  does  not  manifest  this  worldly  spirit,  because  the  subject 
forbade  it.  In  the  first  place,  this  spirit  manifests  itself  in  a  linger- 
ing over  details,  such  as  beautiful  tone  effects  of  one  sort  or  another 
(just  as  the  ribbon,  the  ornament,  or  other  little  piquancy  of  dress, 
betray  a  woman's  instinct  for  being  admired),  and,  for  this  sort  of 
thing,  the  haste  in  wdiich  Handel  wrote  the  "  Messiah  "  left  him  no 
time.  Besides,  as  I  have  before  said,  the  text  of  the  "  Messiah  "  in- 
spired in  him  an  elevation  of  sentiment  to  which  he  was  commonly  a 
stranger.  Moreover,  the  worldly  element  in  music  was  then  in  its  in- 
fancy. The  foundation  of  it  was  there,  namely,  the  taste  of  the  public. 
The  "  Messiah,"  and  all  of  Handel's  oratorios  were  written  for  the 
concert,  and  not  for  religious  use.  In  this  he  differs  from  Bach,  who 
had  nothing  to  consult  but  his  own  ideal.  His  pieces  were  written  for 
church  and  played  in  church.  Religious  worship  was  their  inspira- 
tion. It  is  the  absence  of  the  influence  of  the  public  that  j^ermits 
Bach's  unquestionable  prolixity,  which,  in  our  day,  seems  tediousness. 

It  is  in  "  Elijah  "  that  Mendelssohn  most  fully  moves  the  public. 
The  dramatic  stor}^,  the  j^icturesque  contrasts,  the  richness  and  taste 
of  its  orchestration,  its  novel  and  fascinating  choruses,  and  especially 
the   beauty   and  graphic   appropriateness   of  his    melodies,  give    this 


MEXDELSSOIIX.  183 

oratorio  a  won(l(M"ful  cliariu.  One  should  read  Mr.  Dwiirlil's  fflowiiior 
description  of  it,  found  at  the  end  of  Lami^adius'  Life  of  Mendelssohn. 
I  confess  that  there  is  hardly  a  tedious  moment  to  nie  in  tliis  lovely 
work.  From  the  first  i-ecitative,  "  Thus  saith  the  Lord,"  through  the 
entire  work,  I  find  tlie  rarcist  appreciation  of  beauty,  and  the  rarest 
truth  to  the  words.  How  overpowering  the  choruses,  "Thanks  be  to 
God,"  and  "Be  not  Afraid;"  how  sweet  and  lovely  "  He,  watching 
over  Israel;"  how  graphic  the  recitative  where  fire  descends;  how 
mighty  the  contrast  in  the  quartette  and  chorus^  "  Holy,  Holy,  Holy, 
is  God  the  Lord!  " 

In  this  oratorio  Mendelssohn  seems  to  have  reached  the  acme  of 
taste  in  the  compromise  he  has  effected  between  the  religious  and  the 
merelv  beautiful.  This  same  admirable  taste  manifests  itself  also  in  the 
psalms.  Take,  for  instance,  the  "Hear  my  Prayer."  Here  we  have  a 
solo,  "Hear  my  Prayer,"  the  excited  chorus,  "The  Enemy  shouteth," 
and,  fniallv,  the  altogether  unique  solo  and  chorus  obligato^  "  Oh,  for 
the  Winffs  of  a  Dove! "     Nothing  could  be  more  beautiful. 

In  his  piano  forte  music,  especially-  the  "Songs  Without  Words" 
we  have  the  same  loveliness  of  fancy  and  sentiment.  These  are  works 
which  all  tasteful  people  admire.  Tlie  larger  pieces  no  longer  hold 
the  position  in  the  estimation  of  musicians  they  once  did,  although  it 
would  be  impossible  to  find  two  more  lovely  pieces  for  ladies'  per- 
formance than  the  "Rondo  Capriccioso"  and  "Capriccio  in  B  minor." 

It  is  further  in  proof  of  the  ruling  quality  of  Mendelssohn's  mind 
that  the  scherzo  is  his  most  perfect  triumph.  There  we  have  a  fairy - 
like  playfulness  truly  exquisite  and  altogether  unique.  The  "  six  organ 
sonatas"  were  made  up  for  the  English  market.  They  have  marked 
beauties  and  are  ecclesiastical  in  tone;  and,  in  s])ite  of  their  peculiar 
"sonata"  form,  I  hold  them  in  high  (Estimation.  Besides,  there  was  a 
justification  for  this  irregularity  (which,  perhaps,  I  ought  to  explain, 
consists  of  their  having  but  two  movements  in  place  of  the  usual  four), 
in  the  congeniality  of  their  spirit  to  religious  service,  and  especially 
the  benediction  like  effect  of  the  soft  and  ^ongh\\'  andantes  forming 
their  conclusions.  In  cjuartettes,  quintettes  and  symphonies,  Mendels- 
sohn was  also  extremely  successful,  but  it  may  be  (questioned  whether 
he  ever  surpassed  his  lovely  overture  to  the  "  xMidsumiuer  Night's 
Dream,"  the  work  of  his  boyhood. 

List  of  Mkndki.ssohx  Illustrations. 

{Employviff  a  Soprano,  Alto,  and  the  Pianoforte.'} 
1.  Overture   to  llie  Alitlsummer  Xisjht's  Dream  (for  four  hands), 
2   "  On  Wings  of  Music,"  Tenor  (or  Soprano). 


184  HOW  TO   UNDERSTAND   MUSIC. 

3.  Rondo  Capriccioso. 

4.  "  Jerusalem,  Thou  that  Killest  the  Prophets,"  Soprano. 

5.  a.  Hunting  Song  (No.  3). 
6.  People's  Song  (No.  4). 
c.  Spring  Song  (No.  27). 

6.  "  O !  Rest  in  the  Lord,"  Alto. 

7.  "  Duetto  "  (No.  18  in  Songs  without  Words). 

8.  Duet,  "Would  that  my  Love,"  Soprano  and  Alto. 

9.  Finale  from  "Italian"  Symphony,  (four  hands)  Pianoforte. 


CHAPTER   FORTY-EIGHT. 

CHOPIN. 

Frederic  Chopin  was  born  at  Zela-zola-Wola,  near  Warsaw, 
March  1,  1809,  and  died  at  Paris,  October  17,  1849.  Within  these 
forty  years  were  l:)ound  up  the  activities  of  one  of  the  most  remarkable 
spirits  in  music.  In  Chopin  we  Iiave  another  example  of  precocious 
talent,  such  as  are  seen  in  Mozart,  Schubert,  and  Liszt.  At  the  ao;e  of 
nine  he  played  in  public  a  concerto  by  Gyrowetz,  and  improvised.  His 
studies  were  begun  under  the  direction  of  Ziwna,  a  passionate  admirer 
of  Sebastian  Bach,  and  carried  on  later  under  Joseph  Eisner,  principal 
of  the  Conservatory  of  Warsaw.  The  records  of  Chopin's  early  life 
are  extremely  meagre.  AVe  know  that  he  was  then  a  fluent  Bach 
player,  to  whom  through  life  he  remained  devoted.  We  are  also  sure 
that  even  as  eaily  as  sixteen  he  must  have  been  a  great  viituoso,  not 
only  equal  to  every  thing  that  had  been  planned  for  the  piano  before 
his  time,  but  already  the  author  of  the  completely  new  methods  indi- 
cated in  the  excessivelv  difficult  variations  on  ha  ci  dareni  la  niano. 
the  first  nocturnes,  op  9,  tiie  early  mazurkas  and  waltzes,  and  es 
pecially  the  great  studies  op.  10  and  the  two  concertos.  These  studies 
have  passed  into  the  standard  repertory  of  advanced  piano-piaying, 
and  the  two  concertos,  although  weak  m  orchestral  handling,  are  ex- 
tremely brilliant  and  poetic  for  the  piano,  and  have  the  great  merit  of 
complete  novelty  and  freshness  of  style. 

With  these  great  compositioirs  already  finished,  as  well  as  many 
others  of  a  char-acter  more  immediately  available,  he  set  out  for  Vienna, 
Paris,  and  London,  at  the  age  of  nineteen.  He  reached  Paris,  and 
there  met  Liszt,  with  whom   he   formed   a   devoted   friendship.     Here 


CHOPIN  1S5 

Chopin  found  a  congenial  public.  lie  was  of  a  shy  and  delicate  na- 
ture, proud,  yet  somewhat  effeminate,  and  jiuljlic  appearance  was 
distasteful  to  him.  In  manners  cultivated  and  refined,  and  quick  of 
intellect,  Chopin  innneduitely  became  the  center  of  a  consideraljle 
circle  of  artistic  people,  who  esteemed  him  no  less  for  his  personal 
qualities  than  his  remarkable  musical  gii'ts.  He  was  overrun  with  pu- 
])ils,  of  whom,  however,  ho  would  take  but  a  small  number.  In  1S37 
the  lung-  disease,  with  which  he  had  been  threatened  since  childhood, 
developed  itself.  In  company  with  his  devoted  friend,  M'me  Geo. 
Sand,  to  whom  he  had  been  introduced  by  Liszt,  he  resided  at  the 
island  of  Majorca  for  several  years.  Deceived  by  a  show  of  returning 
health  he  came  back  to  Paris,  and,  as  already  recorded,  died  at  the  age 
of  Raphael  and  Mozart. 

Chopin's  music  is  not  the  unwersal  music  of  the  German  compo- 
sers, nor  is  it  the  humoristic  music  of  the  romantic  school,  although 
with  both  these  it  has  somethino-  in  common.  It  is  a  contradiction. 
He  is  wild,  passionate,  capricious,  yet  always  graceful,  subtle,  refined, 
and  delicate.  Nothing  could  be  less  like  Bach's  music,  yet  it  has  much 
in  common  with  it.  Chopin's  genius  is  especially  for  the  piano.  All 
the  (jrace  and  eleu'ant  manner  of  modern  virtuoso  i)iano-i)lavino-  come 
from  him.  Yet  tlie  inner  life,  the  musical  feeling  which  is  the  determ- 
inins:  cause  of  this  grace  and  refinement,  comes  rather  from  Schumann. 
Chopin  was  an  innovator  for  piano  in  his  matter  and  manner.  He 
gave  depth  to  the  nocturne;  enlarged  the  poetic  range  of  the  piano  by 
his  Polonaises,  Scherzos,  Impromptus,  Ballades,  and  Etudes.  His 
passages  are  new,  ingenious  and  beautiful.  Like  Schumann  he  writes 
mainlv  for  the  pianoforte.  Unlike  him,  he  does  so  in  a  manner  which 
completely  harmonizes  with  the  nature  of  the  instrument,  and,  indeed, 
foresaw  its  latest  improvements.  Hence  we  find  in  Chopin's  works 
the  well-sounding  always  considered.  Nevertheless  they  an;  not  re- 
poseful. x\lthoug'h  the  themes  are  fully  developed,  the  harmonic 
structure  and  the  rhythmic  organization  of  these  pieces  gives  them  a 
character  of  restlessness  and  dissatisfaction.  By  so  much  they  fall 
short  of  srreat  ai"t.  In  all  of  them  it  is  rather  the  manner  of  saving 
which  charms,than  the  actual  idea  itself.  Psychologically  considered  they 
are  unhealthv.  There  runs  throuorh  them  a  vein  of  sadness  and  mor- 
bid  feelina"  which  renders  them  too  exciting  for  the  weak  and  nervous. 
Their  most  conspicuous  external  quality  is  the  subtlety,  the  evan- 
escence, of  tlieii  liarmonies.  It  is  this  which  makes  Chopin's  music  so 
difficult  to  remember.  Its  technical  novelty  was  ])artly  in  a  utMv  ami 
freer  use  of  the    i)edal,    and    tlie    effective    employment    of    extended 


18G  HOW  TO   UNDERSTAND   MUSIC. 

chords,  and  partly  in  better  sustained  and  more  brilliant  passages, 
especially  those  constructed  on  the  diminished  seventh.  As  to  its 
metrical  structure,  Chopin's  luusic  is  lyric.  His  period-lengths  are  re- 
markably uniform,  as  com.pared  with  those  of  Beethoven  or  Schumann. 
The  other  qualities  of  his  music  appear  best  in  the  actual  illustrations. 

List  of  Chopix  Illustratiojts. 

1.  Moderately  Difficult. 

1.  Polonaise  in  C  sharp  min.,  op.  27. 

2.  Valse  in  D  flat  maj.,  op.  04. 

3.  Nocturne  in  E  flat,  op,  9.  ' 

4.  Impromptu  in  A.  flat,  op.  29. 

5.  Prelude  in  D  flat. 

G.  Valse  in  E  flat,  op.  18. 

7.  Nocturne  in  G  min.,  op.  37. 

8.  Polonaise  Militaire  in  A,  op.  40. 

2    Difficult. 

1.  Etudes  out  of  op.  10,  No.  8  in  F,  No  5  on  the  black  keys,  and  No  13  for  the 

left  hand. 

2.  Nocturne  in  C  min.,  op  48,  or  in  G  maj  ,  op.  37. 

3.  Fantasie  Impromptu  in  C  sharp,  op  6G. 

4.  Andante  Spianato  and  Polonaise  in  E  flat,  op  22. 

5.  Prelude  in  D  fiat. 

6.  Ballade  m  A.  flat,  op,  47. 


CHAPTER     FORTY-NINE, 

ROBERT   SCHUMANN 

Robert  Sciiamann  was  born  in  Zwickau,  in  Saxony,  June  8,  1810. 
His  father  was  a  bookseller  and  publisher,  a  man  full  of  eneigy  and 
circumspection,  and  of  decided  literary  tastes  and  ability  The  boy 
was  sent  to  school  and  began  to  learn  music  at  an  early  stage  As 
early  as  the  age  of  seven  or  eight  he  wrote  some  little  dances,  although 
ignorant  of  the  rules  of  harmony.  It  is  said  that  even  then  he  was 
fond  of  sketching  in  music  the  peculiarities  of  his  friends,  and  did  this 
"so  exactly  and  comically  that  every  one  burst  into  loud  laughter  at 
the  similitude  of  the  portrait."  Schumann  was  scarcely  nine  years  old 
when  his  father  took  him  to  hear  Ignatz  Moscheles,  the  famous  pianist. 


ROBEIIT   SCIIUMAKX.  is; 

whose  playing  made  the  most  profound  impression  upon  him.  At  tlie 
ag-e  of  ten  lie  entered  the  academy,  and  here  formed  a  companionship 
with  a  boy  about  his  own  age,  with  whom  he  played  many  of  the 
works  of  Haydn  and  Mozart,  arranged  for  four  hands.  His  father  evi- 
dently encouraged  his  h)V(!  for  music,  and  gratified  him  with  a  fine 
piano  and  plenty  of  new  music. 

Presently  the  boys  came  across  the  orchestral  parts  f)f  Righini's 
overture  to  "Tigranes,"  and  forthwith  mustered  their  forces  for  per- 
formance. They  had  two  violins,  two  flutes,  a  clarionet,  and  two 
horns.  Robert  directed  and  undertook  to  sujjply  the  missing  jjarts 
upon  the  piano.  Their  success  encouraged  them  to  undertake  other 
tasks  of  a  similar  kind,  which,  also,  Robert  directed.  He  also  set  to 
music  the  one  liuiidicd  and  fiftieth  psalm  for  chorus  and  orchestra,  and 
this  was  given  by  the  same  performers,  assisted  by  a  chorus  of  such 
bovs  as  could  sino;.  In  all  these  and  such  like  exercises,  the  fatlier 
recognized  the  plain  indication  of  Providence  that  the  son  was  in- 
tended for  a  musician,  nor  was  he  disposed  to  thwart  the  design.  The 
mother,  however,  had  aj^oor  idea  of  the  musical  profession,  and  thought 
only  of  the  hardships  it  carried  with  it. 

As  a  boy  Robert  was  full  of  tricks  and  sports.  ]5ut  at  the  age  of 
fourteen  a  chan<):e  came  over  him,  and  he  became  more  reserved  and 
prone  to  revery.  This  habit  never  forsook  him  tiirough  life.  It  was, 
perhaps,  increased  by  the  d(,^ath  of  his  appreciative  and  kind-hearted 
father,  which  took  })laee  in  1826,  when  Robert  was  l)ut  sixteen.  In 
deference  to  his  mother's  wishes  he  matriculated  at  Leipsic  as  a  law 
student  in  1828. 

Through  his  father's  example  ho  had  already  made  the  ac(piain- 
tance  of  Byron's  jjoems.  He  now  became  infected  with  a  perfect  fever 
for  Jean  Paul.  Here,  also,  he  made  the  acquaintaiict^  of  Fi-icdrich 
Wieck,  and  became  his  ])upil  in  piano-playing.  I'he  daughter,  Clara, 
then  but  nine  years  old,  attracted  him  very  much  by  her  remarkable 
talent.  Schumann  left  Leipsic  for  Ileidelburg  for  a  while,  in  order  to 
attend  certain  lectures  there.  Now  ensued  a  still  more  violent  con- 
test between  law  and  music,  which  resulted  at  last  in  his  return  to 
Leipsic  in  1830,  for  tlu;  purpose  of  devoting  himsplf  to  music,  which 
he  be<ran  to  do  airiii'i  under  Wieck's  instruction.  But  this  course  was 
not  rapid  enough  for  the  impatient  student,  who  imagined  himself  the 
discoverer  of  a  secret  by  which  the  time  of  practice  could  be  much 
shortened.  The.  experiment,  whatever  it  was,  worked  disastrously,  and 
had  the  effect  of  destroying  the  use  of  the  fourth  finger  of  the  right 
hand,  and  consequently  in  disabling  him  from  piano-playing  altogether. 


188  now  TO   UNDERSTAND   MUSIC, 

He  now  devoted  himself  to  composition,  and  produced  his  op.  1, 
A-ariations  on  the  name  "Abegg,"  and  directly  his  "  Papillons,*'  or 
scenes  at  a  ball.  In  these  his  talent  and  originality  were  plain  enough, 
as  well  as  the  lack  of  clearness.  Incited  by  the  criticism  which  these 
works  met  on  all  hands,  he  took  up  the  study  of  counterpoint  and  com- 
position, and  little  by  little  acquired  smoothness  of  style.  Thus  he 
produced  his  two  sets  of  studies  after  Paganini,  op.  3  and  op.  10,  the 
DavidsbiindlertMize.  op.  G,  the  Toccata,  Allegro,  Carnival,  op.  9,  the 
sonata  in  Fsharp  minor,  and  the  "  Phantasie  Stiicke,"  on.  12.  The 
latter  set  of  jDieces  has  become  universally  favorite,  and  shows  Schu- 
mann's originalitv^  in  a  favorable  lisrht.  Thev  have  alreadv  been  ana- 
lyzed  in  Chapter  XXXIII,  and  need  not  here  be  taken  up 
ao-ain. 

One  of  the  most  remarkable  of  the  works  of  this  first  epoch  is  the 
Etudes  Syinjyhoniques,  an  air,  twelve  variations,  and  a  finale.  These 
variations  are  not  so  much  unfoldings  of  the  theme,  as  associated  or 
congenial  ideas  and  images  called  up  l)y  it,  as  it  is  dwelt  upon  in  the 
mind.  It  would  be  impossible  to  conceive  any  thing  less  like  an  ordi- 
nary set  of  variations.  Instead  of  the  usual,  somewhat  timid  jirogres- 
sion  from  one  variation  to  the  next,  we  here  effect  the  boldest  transi- 
tions. At  times  we  lose  the  theme  completely.  Then  it  re-appears. 
This  work  is  extremely  interesting,  because  the  forms  are  short,  and 
the  musical  nature  of  the  whole  is  of  the  most  precious  quality.  Of 
similar  excellence  is  the  Kreisleriana,  op.  16,  and  the  Humoreske, 
op.  20. 

In  1833  Schumann  united  with  a  few  others  in  establishinor  the 
Netie  Zeitschriftfiir  Jfusik  (New  Journal  of  Music),  as  the  advocate 
of  progression,  and  as  opposed  to  pedantry  and  (other  people's)  conceit. 
Like  all  journals  devoted  to  art,  it  was  published  at  a  loss,  but  was 
kept  up  for  several  years,  and  to  it  the  world  is  indebted  for  the  pre- 
servation of  Schumainrs  opinions  and  criticisms  upon  contemporary 
music.  Two  volumes  of  his  writings  are  now  available  in  English,  and 
exhibit  him  in  an  altoo-ether  favorable  lio-ht.  Meantime  his  affairs  of 
the  heart  made  haste  slowly.  After  several  episodes,  he  finally  settled 
down  to  the  conviction  that  Clara  Wieck  was  indispensable  to  his  hap- 
piness. Father  Wieck  objected,  for  reasons  not  publicly  stated,  but 
probably  on  account  of  doubt  of  the  lover's  fixity  of  purpose  and  sta- 
bility of  talent.  At  length  an  engagement  was  allowed,  and  in  1840 
Schumann  burst  out  in  song,  composing  in  a  single  year  one  hundred 
and  forty.  Among  them  were  those  two  sets  "  Woman's  Love  and 
Life,"  and  "  Poet's  Love,"  which  still  remain  among  the   most  highly 


KU13EKT  SCHUMANN.  189 

prized  achievements  in  this  line.  Tn  this  year  he  was  married  to  Clara 
Wiecli,  on  the  12th  of  SeptombQr. 

He  now  turned  his  attention  to  orchestral  instruments  and  pro- 
duced his  piano  quartette  and  quintette,  and  his  B  flat  symphony. 
Tliis  was  followed  by  other  orchestral  works,  and  in  1851  bv  the  svni- 
phony  in  1)  minor.  In  1S41  he  became  connected  with  the  Conserva- 
tory at  Leipsic  as  teacher  of  piano-playing,  composition,  and  the  art 
of  playing  from  score.  This  continued  until  his  removal  to  Dresden, 
which  took  place  in  1814.  He  had  already  in  1840  composed  his 
charming  and  highly  romantic  work  "  Paradise  and  the  Peri."  As  soon 
as  he  arrived  in  Dresden  he  set  to  work  on  the  epilogue  to  the  Faust  mu- 
sic. The  incessant  activity  of  his  mind  finally  resulted  in  throwing  it 
completely  off  its  balance,  and  gave  rise  to  distressing  symptoms  of 
melancholy.  In  1848  he  wrote  his  opera  of  "  Genoveva,"  which,  al- 
though full  of  beautiful  music,  is  not  well  adapted  for  dramatic  per- 
formance. Here  also  followed,  in  an  order  which  we  have  no  room  to 
trace,  the  later  compositions  for  the  piano.  In  1850  he  removed  to 
Diisseldorf  as  municipal  director,  and  was  received  with  a  banquet  and 
concert.  His  position  here  was  pleasant,  but  he  had  as  little  talent  for 
directino^  as  teachina:.  In  1853  he  and  his  wife  made  a  concert  tour 
throuo-h  the  Netherlands,  where  Schumann  was  delio-hted  to  ilnd  his 
music  as  well  known  as  at  home.  "Everywhere,"  he  writes,  "there 
were  fine  performances  of  my  symphonies,  even  the  most  difficult." 

Still  his  malady  increased.  He  imagined  he  heard  a  tone,  which 
pursued  him  incessantly,  and  from  which  harmonies,  nay  whole  com- 
positions were  gradually  developed.  He  became  sleepless,  and  cast 
down  with  melancholy.  At  length  he  threw  himself  into  the  Ivliine, 
from  which  he  was  with  difficulty  rescued.  Ho  was  removed  to  a 
private  asylum  at  Endenich,  where  he  died  two  years  latei',  Jvily  31, 
18CG. 

"  Robert  Schumann  was  of  middling  stature,  almost  tall,  and  slightly 
corpulcMit.  His  bearing  while  in  health  was  haughty,  distiiiguisiied, 
dignified  and  calm;  his  gait  slow,  soft,  and  a  little  slovenly.  While  at 
home  he  generally  wore  felt  shoes.  He  often  paced  his  room  on  tip- 
toe, apparently  without  cause.  His  eyes  were  generally  down-cast, 
half-closed,  and  onlv  biio-htened  in  intercourse  with  intimate  friends, 
but  then  most  pleasantly.  His  countenance  produced  an  agreeable, 
kindly  impression;  it  was  without  regular  beauty,  and  not  particularly 
intellectual.  The  fine  cut  mouth,  usually  puckered  as  if  to  whistle, 
was,  next  to  the  eyes,  the  most  attractive  feature  of  his  full,  round, 
ruddy  face.     Above  the  heavy   nose  rose  a   high,   bold,  arched  brow, 


190  HOW  TO    UNDERSTAND   MUSIC. 

■which  broadened  visibly  at  the  temples.  His  head,  covered  with  long, 
thick,  dark-brown  hair,  was  hrm  and  intensely  powerful,  we  might  say 
square.*" 

As  a  composer  Schumann  is  one  of  the  most  important  in  the  en- 
tire historv  of  music.  Liszt  acutely  remarked,  •'  Schumann  thinks 
music  better  than  any  other  since  Beethoven."  AYe  have  already  seen 
that  Bach  established  modern  tonality  by  taking  it  as  he  found  it  al- 
ready developed  for  him  in  Fugue,  and  applying  it  to  the  exjDression 
of  musical  feeling,  the  vital  element  which  had  .been  generally  want- 
ino-  in  the  music  written  before  his  dav.  After  Bach,  nothina:  new  was 
done  for  music  but  to  invent  clearer  forms,  and  to  master  its  use  as 
the  expression  of  light  and  deep  feeling  according  to  the  demands  of 
the  classical  school.  We  have  also  seen  that  Beethoven,  in  some  of  his 
works,  goes  beyond  the  classical  idea,  and  actually  enters  upon  the 
province  of  the  romantic.  This  he  does  in  the  stronger  contrasts  of 
his  works,  especially  in  the  pianoforte  sonatas,  op.  13,  110  and  111 
Yet  in  these  works  which  are  so  full  of  feeling,  and  expressed  with  such 
masterful  power,  there  is  after  all  a  certain  repose  and  classical  dig- 
nity bevond  which  they  do  not  come.  These  elements  are  still  more 
noticeable  in  his  opera  "  Fidelio,"  where  there  was  room  for  him  to 
have  expressed  himself  in  a  truly  romantic  manner.  But  no!  here,  as 
elsewhere,  he  is  distinctly  the  instrumental  composer,  considering  the 
music  first  and  the  text  afterwarcis.  That  the  music  is  far  above  that 
of  any  Italian  opera,  comes  not  from  Beethoven's  seizure  of  the  text, 
but  from  his  range  of  expression  as  a  musician.  It  is  as  music  that 
"  Fidelio  "  surpassed  other  operas,  and  not  as  a  poetico-musical  inter- 
pretation of  a  highly  poetic  and  suggestive  text.  The  same  peculiari- 
ties of  Beethoven's  music  are  still  more  perceptible  in  the  symphonies, 
where  he  is  always  moved  by  musical  considerations  as  such.  Nothing 
tempts  him  from  the  strictly  appropriate  and  suitable  development  of 
his  theme.  True,  he  does  this  with  consummate  beauty,  and  sets  it  off 
bv  the  most  delightful  contrasts,  but  in  all  he  is  reposeful,  elegant, 
beautiful.  The  very  fineness  of  the  work  makes  it  ineffective  to  com- 
mon minds.  Yet,  how  much  more  effective  to  those  who  have  the  ears 
to  hear. 

Schubert  is  in  many  respects  to  be  counted  a  romantic  composer. 
Yet  we  have  but  to  study  his  music  deeply  to  perceive  that  his  roman- 
ticism is  spasmodic  and  temporary,  while  the  natural  range  of  his 
thouo-ht  is  accordino^  to  the  methods  of  the  classical.  Thus  while  in 
his  great  romantic  songs,  like  the  Erl  King,  he  is  distinctly  a  romantic 

*Von  Wasielwski. 


ROBERT   SCHUMANN.  101 

writer,  as  soon  as  the  stimulus  of  poetry  is  withdrawn  he  develops  his 
}nusical  ideas  at  groat  lengtiis,  strictly  in  the  classic  method.  This  is 
to  be  seen  everywhere  in  Scliubert's  instrumental  works,  and  he  is  es- 
pecially the  longest-ioinded  composer  of  all.  No  one  else  is  so  un- 
wearied in  turning  over  the  same  idea;  and,  it  may  be  added,  no  one 
else  does  so  with  such  elej^ance  and  orace. 

Schumann,  on  the  contrary,  is  romantic  in  the  very  essence  of  his 
musical  tlioui^-ht.  AYhcii  ]\(\  is  writinof  to  a  text  he  is  <rranliic  and  \\o\- 
ible  in  conforming  to  tlio  spirit  of  the  words.  But  when  Im  is  writing 
instrumental  music  merely,  he  is  equally  direct  and  full  of  humor. 
The  classical  Tnethod  of  developing  musical  ideas  is  contrary  to  his  na- 
ture and  impossible  for  him.  All  through  his  life  he  made  the  most 
strenuous  efforts  to  write  eleii'antlv,  and  accordin<>*  to  the  canons  of 
form.  He  disciplined  himself  in  counterpoint  and  fugue*  under  tlic 
best  masters  of  his  dav,  and  studied  eao-erlv  Bach  and  Beethoven. 
Yet  he  could  never  develop  an  idea  easily  and  naturally  according  to 
the  fashion  of  the  classic.  His  fugues  are  forced,  liis  counterpoint 
spasmodic,  and  his  sonatas  his  poorest  work.  His  songs  are  at  times 
badly  placed  for  the  voice,  and  entirely  uidlke  every  thing  that  a  song- 
ought  to  1)0 — if  we  may  believe  the  critics  who  wrote  upon  lliem  in 
Schumann's  life-time.  Yet  they  have  made  their  way  and  are  now 
accepted  as  among  the  most  successful  efforts  yet  made  to  unite  poetry 
and  music.  So  also  in  the  instrumental  pieces.  These  little,  fantastic, 
irregular  compositions  are  now  played  and  enjoyed  all  the  world  over, 
althouii'li  thev  do  not  contain  a  sino;le  element  of  the  "o-rateful  "  salon 
piece  for  the  pianoforte. 

Yet  the  classical  moment  in  music  had  not  passed  ])v  in  Schu- 
mann's day.  Beethoven's  later  sonatas  were  as  yet  a  sealed  book. 
Mendelssohn,  although  on  the  whole  to  be  counted  for  a  roinanti(M-oin- 
poser,  handled  musical  ideas  with  an  ease  and  classical  elegance, 
limited  only  by  the  inherent  lightness  of  the  ideas  themselves.  Cho- 
pin, a  still  more  poetic  writer,  and  the  inventor  of  very  many  entirely 
nevv  ways  of  proceeding,  yet  develops  his  ideas  in  his  own  new  ways, 
somehow  not  unlike  the  spirit  of  the  classical  model.  Chopin  is  every- 
where new  and  original;  l)ut  ho  has  also  a' certain  epic  breadth.  He 
writes  lono-  movements,  which  are  well  sustained,  and  thorouii-hlv 
satisfactory  in  point  of  formal   beauty. 

Schumann,  doubtless,  would  have  agreed  with  the  late  Edgar  A. 
Poe,  that  "a  long  poem  is  a  contradiction  in  terms."  There  is  never 
a  long  piece  of  music  in  Schumann.  But  instead  thereof,  short  pieces, 
strongly  differentiated  and  contrasted,  and  out  of  them  are    built    up, 


193  HOW  TO   UNDERSTAND   MUSIC. 

mosaic-wise,  long  movements.  So  it  is  in  his  pianoforte  concertos, 
sonatas,  his  quartettes  and  symphonies.  The  distinguishing  greatness 
of  Schumann,  then,  is  not  in  liis  large  pieces,  for  in  all  of  them  he  is 
one  way  or  another  hampered.  In  the  pianoforte  concerto,  for  exam- 
ple, there  are  no  effective  passages.  It  is  in  places  difficult  enough, 
but  it  is  very  far  from  a  bravoura  piece.  Even  the  cadenza  is  as  far 
as  possible  from  anything  likely  to  bring  down  the  house.  Yet  it  is 
one  of  the  most  delightful  works  ever  written,  and  full  of  the  most 
beautiful  ideas,  although,  to  be  sure,  these  are  mainly  for  the  piano. 

It  is  another  ^peculiarity  of  Schumann's  genius,  that  he  is  on  the 
whole  a  pianoforte  composer.  iVlthough  he  wrote  a  large  amount  for 
other  instruments  and  for  the  voice,  his  piano  works  are  the  ones  on 
which  his  fame  chiefly  rests.  And  it  is  curious  to  observe  that  while 
this  is  the  case,  he  has  never  written  "gratefully"  for  the  jDianoforte, 
but  always  the  new  and  original.  Hence  his  piano  pieces  had  to  wait 
a  long  time  for  their  merits  to  become  known.  One  might  almost  say 
that  they  had  to  wait  for  a  generation  of  players  able  to  understand 
them  and  do  them  justice. 

Schumann  is  essentially  the  music  thinker.  He  writes  well  for 
no  instrument  whatever,  nor  even  for  the  voice.  The  entire  art  of 
piano  playing,  and  especially  of  early  technical  practice,  has  had  to  be 
re-modeled  in  order  to  provide  the  technical  ability  with  which  to 
properly  render  these  works  of  his.  His  symphonies  not  only  are  made 
up  out  of  bits,  like  all  his  long  pieces,  but  are  badly  written  for  the 
strinsrs,  the  verv  fovmdation  of  the  orchestra.  Yet  the  music  has  in  it 
such  force  and  freshness,  that  these  works  hold  their  position,  not  only 
against  the  more  reposeful  and  elegant  works  of  Beethoven  and  the 
classical  composers,  but  against  modern  works  also,  even  though  in 
some  cases  much  l^etter  written.  Bach  established  the  musical  vo- 
cabulary within  which  the  entire  classical  school  expressed  itself.  In 
like  manner  Schumann  did  this  for  the  romantic  school.  Nothing  es- 
sentially new  has  been  added  to  musical  phraseology  since  Schumann, 
but  only  to  master  the  use  of  his  new  modes  of  expression.  What 
these  are  it  would  be  difficult  to  point  out.  If  we  examine  the  har- 
mony we  can  not  say  that  Schumann  uses  any  chord  that  may  not  be 
found  in  Bach.  Nor  is  the  novelty  in  period  formations.  But  perhaps, 
if  in  any  single  element,  in  the  manner  of  motive-transformation.  In 
this  respect  the  difference  between  Schumann  and  Bach  or  Beethoven 
is  world-wide.  \n  Bach  there  is,  to  be  sure,  a  fresh  and  thoroughly 
right  thematic  development,  and  so  in  Beethoven.  In  the  latter  his  fan- 
tasy sometimes  carries  him  to  great  lengths,  as  in  the  Rondo  Capriccioso.> 


ROBERT  SCHUMANN.  193 

But  in  Schumann  this  fantasy  becomes  much  more  fantastic  and  hu- 
rnoristic.  Tn  many  cases  it  is  so  violent  as  to  forhid  his  adlieriiig  to  a 
singUi  idea  and  working"  it  out  thoroughly.  Instead  of  that  lie  flies 
restlessly  from  one  idea  to  another,  and  to  yet  another,  until  the  lis- 
tener wearies  of  it.  So  lie  violates  all  canons  of  beauty,  and  destruc- 
tive  criticism  breaks  all  her  vials  of  wrath  upon  him.  Yet  the  strongest 
of  these  pieces  has  something  true  and  tender  in  it.  "When  a  Rubin- 
stein produces  the  key  that  unlocks  the  magic  door,  we  enter  and  find 
here  a  world  of  tenderness  and  fanciful  beauty.  So  has  it  been  with 
the  apparently  most  unjustifiable  of  these  works,  like,  for  example,  the 
Carnival,  the  Faschhigsschwank  cms  Wien.,  and  so  on. 

It  is  Schumann  who  has  in  oiKi  effort  taught  the  musical  world 
two  lessons  :  that  there  is  poetry  in  music,  and  that  there  is  music  in 
the  pianoforte.  His  creative  activity  busied  itself  along  the  line  where 
poetry  and  n.usic  join.  Although  an  imaginative  and  fanciful  person, 
he  had  a  true  instinct  for  valid  and  logical  expression  in  music.  So,  even 
in  his  most  far-fetchod  passages,  the  melodic  and  harmonic  sequences, 
although  new,  are  inherently  rigiit,  and  entirely  compatible  with  those 
of  Bach  and  Beethoven.  Hence  whatever  ground  his  music  has  gained, 
it  has  held.  On  the  other  hand  he  had  also  a  fancy  in  which  every 
fantastic  idea  found  congenial  soil.  The  jn-oper,  the  conventional,  the 
allowable,  meant  nothina:  to  him.  He  "-ave  loose  rein  to  his  humor 
and  followed  it  whithersoever  it  led.  Xor  yet  in  this  did  he  lose  his 
balance.  For  at  the  bottom  he  iiad  the  key  to  the  riddle,  which  we 
have  before  several  times  pointed  out:  the  relation  of  music  to  emotion. 
And  so  while  his  fancy  took  him  fai',  and  into  many  new  paths,  his  fine 
musical  sense  kept  him  from  jiassing  beyond  what  was  inherently  right 
in  music,  as  such.  That  he  often  passes  beyond  the  limits  of  the  sym- 
metrical, the  well-sounding,  or  even  the  agreeable,  we  can  afford  to 
foririve  for  the  sake  of  the  vi<ror  of  his  imaa-ination,  and  the  inherent 
sweetness  and  soundness  of  his  disposition.  And  it  is  these  which  on 
the  whole  have  supported  and  justified  his  works. 

List  of  Sciiumanx  Illustrations. 

1.  {ModenUely  Difficult,  Employing  the  Pianoforte  and  a  Soprano.) 

1.  "The  Entraucf,"   "  Wayside  Inn,"  and  "  Homeward"  from  the  Forest  Scenes, 

op.  82. 

2.  "Tlie  Hat  of  Green,"  Soprano. 

3.  a.  Romance  in  F  sharp,  op.  28. 
1).  Hunting  Souij:. 

4.  "  O  Sunshine,"  Soprano. 

13 


194  HOW  TO   UNDERSTAND   MUSIC. 

0.  Nachlstiicke  in  C  and  F,  op.  23. 

6.  "  Moonlight,"  Soprano. 

7.  "End  of  the  Song,"  from  op.  12. 

2.  Difficult. 

1.  Etudes  Symphoniques,  op.  13,  Theme,  variations  1,  2,  3,  7, 11,  12,  and  Finale. 

2.  "  Thou  Ring  upon  my  Finger,"  Soprano. 

3.  "  Aufschwung,"  "  Warum,"  and  "  Ende  vom  Lied,"  from  op  12. 

4.  "  He  the  Best  of  all,  the  Noblest,"  Soprano. 

5.  Novelette  in  F,  No.  1,  Romance  in  F  sharp,  and  Novellette  in  E.  No.  7, 

3.  Illustrations  of  the  Romantic 

1.  Schumann. — a.  Novellette  in  E,  No.  7. 

b.  Prophetic  Birds. 

c.  Traumeswirren. 

d.  Warum. 

e.  Ende  vom  Lied. 

2.  Schubert.  —  "  The  Erl  King,"  Soprano. 

3.  Chopin.  —  a.  Scherzo  in  D  flat,  op.  31. 

h.  Nocturne  in  F  sharp,  op.  l"). 
c.  Ballade  in  A  flat,  op.  47. 

4.  Schumann.  —  "  He  the  Best  of  all,  the  Noblest." 

5.  Chopin.  —  Polonaise  in  A  flat,  op.  58. 


CHAPTEK     FIFTY. 

LISZT. 

Liszt  is  one  of  the  most  remarkable  personages  wlio  has  yet  ap- 
peared in  music.  His  life  is  briefly  told  by  Francis  Heuffer,  in  Grove's 
"  Dictionary,"  as  follows: 

"Franz  Liszt  was  born  October  22,  1811,  at  Raiding,  in  Hungary, 
the  son  of  Adam  Liszt,  an  official  in  the  imperial  service,  and  a  musi- 
cal amateur  of  sufficient  attainment  to  instruct  his  son  in  the  rudiments 
of  pianoforte-playing.  At  the  age  of  nine  young  Liszt  made  his  first 
appearanee  in  public  at  Oedenburg,  with  such  success  that  several 
Hunofarian  noblemen  j^uaranteed  him  sufficient  means  to  continue  his 
studies  for  six  years.  For  that  purpose  he  went  to  Vienna,  and  took 
lessons  from  Czerny  on  the  pianoforte,  and  from  Salieri  and  Rand- 
hartinger  in  composition.  The  latter  introduced  the  lad  to  his  friend 
Franz  Schubert.  His  first  appearance  in  print  was  probably  in  a  va- 
riation (the  24th)  on  a  waltz  of  Diabelli's,  one  of  fifty   contributed  by 


LTSZT.  195 

tlie  most  eminent  artists  of  the  day,  for  whicli  Beethoven,  when  asked 
for  a  single  variation,  wrote  tliirty-tliree  (op.  120).  Tlie  collection, 
entitled  Vaterlandischo  Kiinstler-VercMn,  was  published  in  June,  1833. 
In  the  same  year  he  proceeded  to  Paris,  wlu^re  it  was  hoped  that  his 
rapidly  growing  rejiutation  would  gain  him  admission  at  the  Conser- 
vatoire in  spite  of  his  foreign  origin.  But  Cherubini  refused  to  make 
an  exce-ption  in  his  favor,  and  he  continued  his  studies  under  Reicha 
and  Paer.  Shortly  afterwards  he  also  made  his  first  serious  attempt  at 
composition,  and  an  operetta  in  one  act,  called  '  Don  Sancln>/  was 
produced  :it  the  x\cademie  Royale,  October  IT,  IS'2."),  and  well  received. 
Artistic  tours  to  Switzerland  and  England,  accompanied  by  brilliant 
success,  occupy  the  period  till  the  year  1827,  when  Liszt  lost  his  father 
and  was  thrown  on  his  own  r(;sources  to  provide  for  himself  and  his 
mother.  Duriuii-  his  stay  in  Paris,  where  he  settled  for  some  years,  he 
became  acquainted  with  the  leaders  of  French  literature,  Victor  Hugo, 
Lamartine  and  George  Saiul,  the  intluence  of  whose  works  may  be 
discovered  in  his  compositions.  P^or  a  time  also  he  l)ocaniean  adherent 
to  Saint-Simon,  but  soon  reverted  to  the  Catholic  religion,  to  which, 
as  an  artist  and  a  man,  he  has  since  adhered  devoutly. 

"  The  interval  from  1839  to  1847  Liszt  spent  in  traveling  almost  in- 
cessantly from  one  country  to  another,  being  everywhere  received 
with  an  enthusiasm  unequaled  in  the  annals  of  Art.  In  England  he 
played  at  the  Philharmonic  Concerts  of  May  21,  1827  (Concerto,  Hum- 
mel), May  11,  1840  (Concertstuck,  Weber),  and  June  8,  1840  (Kreut- 
zer-sonata).  Here  alone  liis  reception  seems  to  have  been  less  warm 
than  was  expected,  and  Liszt,  with  his  usual  generosity,  at  once  un- 
dertook to  bear  the  loss  that  might  have  fallen  on  his  agent.  Of  tliis 
generosity  numerous  instances  might  be  cited.  The  charitable  pur- 
poses to  which  Liszt's  genius  has  been  made  subservient  are  legion, 
and  in  this  respect  as  well  as  in  that  of  technical  perfection,  he  is  un- 
rivaled amono-st  virtuosi.  The  disaster  caused  at  Pesth  by  the  inun- 
dation  of  the  Danui)e  (1837)  was  considerably  alleviated  by  the 
princely  sum  —  the  result  of  several  concerts  —  coTitributed  by  this 
artist;  and  when  two  years  later  a  considerable  sum  had  been  col- 
lected for  a  statue  to  be  erected  to  him  at  Pesth,  he  insisted  upon  the 
nioney  being  given  to  a  struggling  ycjuug  sculjitor,  whom  he  moreover 
assisted  from  his  private  means.  The  poor  of  Raiding  also  had  cause 
to  remember  the  visit  paid  by  Liszt  to  his  native  village  about  the 
same  time.  It  is  well  known  that  Beethoven's  monument  at  Bonn 
owed  its  existence,  or  at  least  its  speedy  completion,  to  Liszt's  liber- 
ality.    When  the  subscriptions  for  the  purpose    began    to    fail,    Liszt 


19(1  .     HOW  TO   UNDERSTAND   MUSIC, 

offered  to  pay  tlie  balance  required  from  his  own  pocket,  provided 
oidy  that  the  choice  of  the  sculptor  should  be  left  to  him.  From  the 
beffinniniT  of  the  forties  dates  Liszt's  more  intimate  connection  with 
Weimar,  where  in  1849  he  settled  for  the  sjiace  of  twelve  years.  This 
stay  was  to  be  fruitful  in  more  than  one  sense.  When  he  closed  his 
career  as  a  virtuoso,  and  accepted  a  permanent  engagement  as  con- 
ductor of  the  Court  Theater  at  Weimar,  he  did  so  with  the  distinct 
puroose  of  becoming  the  advocate  of  the  rising  musical  generation,  by 
the  performance  of  such  works  as  were  written  regardless  of  immediate 
success,  and  therefore  had  little  chance  of  seeing  the  light  of  the  stage. 
At  short  intervals  eleven  operas  of  living  composers  were  either  per- 
formed for  the  first  time  or  revived  on  the  Weimar  stage.  Amongst 
these  may  be  counted  such  works  as  Lohengrin^  Tannhdyser,  and 
The  Flying  Dutchman  of  AYagner,  Benvenuto  Cellini  by  Berlioz, 
Schumann's  Genoveca^  and  music  to  Byron's  'Manfred."  Schubert's 
Alfonso  and  Estrella  was  also  rescued  from  oblivion  by  Liszt's  exer- 
tions. For  a  time  it  seemed  as  if  this  small  pruvincial  city  was  once 
tnore  to  be  the  artistic  center  of  Germany,  as  it  had  been  in  the  days 
of  Goethe,  Schiller  and  Herder.  From  all  sides  musicians  and  ama- 
teurs flocked  to  Weimar,  to  Avitness  the  astonishing  feats  to  which  a 
small  but  excellent  communitv  of  sino-ers  and  instrumentalists  were 
inspired  1)v  the  crenius  of  their  leader.  In  this  way  was  formed  the 
the  nucleus  of  a  "-roui)  of  vouno-  and  enthusiastic  musicians,  who, 
whatever  mav  be  tliou'rht  of  their  aims  and  achievements,  were  and 
are  at  &ny  r:;te  inspired  by  perfect  devotion  to  music  and  its  poetical 
aims.  It  was,  indeed,  at  these  Weimar  gatherings  that  the  musicians 
who  now  form  the  so-called  School  of  the  Future,  till  then  unknown 
to  each  other  and  divided  locally  and  mentally,  came  first  to  a  clear 
understanding  of  their  powers  and  aspirations.  How  much  the  per- 
sonal fascination  of  Liszt  contributed  to  this  desired  effect  need  not  be 
said.  Amongst  the  numerous  pupils  on  the  pianoforte,  to  whom  he  at 
the  same  period  opened  the  invaluable  treasure  of  his  technical  ex- 
perience, may  be  mentioned  Hans  von  Billow,  the  worthy  disciple  of 
such  a  master. 

"The  remaining  facts  of  Liszt's  life  may  be  summed  up  in  a  few 
words.  In  1859  he  left  his  official  position  at  the  Opera  in  Weimar 
owing  to  the  captious  opposition  made  to  the  production  of  Cornelius' 
'  Barber  of  Bagdad,'  at  the  Weimar  Theater.  Since  that  time  he  has 
been  living  at  intervals  at  Rome,  Pesth,  and  Weimar,  always  sur- 
I'ounded  by  a  circle  of  pupils  and   admirers,   and   always   working  for 


LISZT.  197 

•  music  and  musicians  in  t]\o  unselfish  and  tndy  catliolic  spirit  character- 
istic of  his  wliole  life/' 

Liszt's  250sition  in  tlio  world  of  art  is  one  that  is  altogether  pecu- 
liar and  unexampled.  ILi  appeared  in  Paris  just  at  the  time  wlien 
Thalberg- had  made  a  profound  impression  by  the  ease  of  his  playing  and 
the  remarkable  results  attainable  from  the  piano.  What  Thalberg  did 
was  to  carry  a  melody  in  tlie  center  of  the  compass  of  the  instrument, 
principally  with  the  two  thumbs,  and  to  surrouTid  it  with  an  elabora- 
tion of  passage-work  entirely  unheard  of  before.  The  melody  so  car- 
ried was  not  left  to  itself,  or  merely  pounded  out,  but  made  to  sing, 
and  delivered  with  the  utmost  refinement  of  phrasing,  as  if,  indeed, 
the  player  had  nothing  whatever  to  do  just  then  but  to  play  tliat 
melodv.  There  was  in  all  of  Thall)er^■"'s  pieces  a  certain  similaritv  of 
style,  and  in  his  performance  a  certain  coldness. 

All  this,  which  Thalberg  did  so' beautifully  and  elegantly,  yet  so 
coldly,  Liszt  did  spontaneously,  and  []with  an  endless  caprice  of 
color  and  shadincr  as  the  mood  chanced.  Besides  these  things,  to 
which,  indeed,  he  attached  little  importance,  Liszt's  exuberent  fancy 
broke  out  in, every  direction,  especially  towards  the  new,  the  startling, 
the  astonishing.  For  his  calmer  moments  he  had  his  work  readv  to 
his  hands  in  the  elegant  but  dramatically  suggestive  compositions  of 
Chopin,  and  these  Liszt  played  wilh  a  fire  and  strength  far  beyond  the 
.  feeble  powers  of  Chopin  himself. 

As  a  player  Liszt  gathered  up  and  combined  witliin  himself  all 
the  excellencies  of  piano-playing  known  before  him,  and  added  to 
this,  his  inherited  capital,  a  perfectly  tropical  luxuriance  of  elaboration 
in  every  direction.  ' 

The  possibilities  latent  in  the  diminished  seventli  and  llic  cln-o- 
matic  scale,  were  very  plainly  suggested  in  Mozart's  Avind-parts  of 
Handel's  "  The  People  that  AValked  in  Darkness,"  but  they  remained 
a  sealed  book  to  the  pianist  until  Chopin  showed  them  at  the'r  true 
value  on  the  pianoforte.  This  new  path  attracted  Liszt,  who  has 
effected  a  thousand  transformations  on  these  elements,  most  of  them 
much  simpler  and  less  subtle  than  Chopin's,  but  perhaps  on  that  very 
account  all  the  more  effective  in  concert.  And  so  W('  find  in  Liszt's 
transcriptions  and  paraphrases  of  songs  and  orchestral  works,  not  only 
very  effective  solos  for  virtuoso  pc^-formance,  1)ut  also  an  actual  and 
very  influential  enlargement  of  the  available  field  of  the  piano,  and, 
more  and  more  in  his  later  works,  a  demand  u]ion  {\\o  player  for  intel- 
ligence and  musical  discrimination  of  touch.      In  liis  earlier  transcrip- 


198  HOW  TO   UNDERSTAND   MUSIC. 

tioiis  Iio  is  concerned  with  operatic  melodies,  and  those  mainly  of 
Verdi,  Rossini  and  Meyerbeer.  In  his  later  works  he  traverses  the 
whole  range  of  musical  literature.  Symphonies,  quartettes,  masses, 
operas,  oratorios,  and,  last  and  least  jDromising;  of  all,  Wagner's  "  Art- 
Work  of  the  Future," —  all  these  re-attire  themselves  in  habiliments 
of  pianoforte  passages,  and  pose  for  drawing-room  use. 

Liszt  has  been  the  great  music  teacher  of  the  last  forty  years.  He 
has  never  received  a  dollar  for  musical  instruction,  but  has  given  his 
services  in  pure  love  for  the  art.  All  good  pianists  owe  much  to  him  ; 
not  only  to  the  silent  but  forcible  inspiration  of  his  printed  works,  but 
also  still  more  to  his  personal  example  and  criticism.  As  long  ago  as 
1852  he  had  a  class  of  seven  or  eight  young  men  at  Weimar,  all  of 
whom  have  since  become  famous.  Amono;  them  Avere  Hans  von 
Biilow,  Carl  Klindworth,  Joachim  Half,  William  Mason,  Dionys  Priick- 
ner,  and  .Joseph  Joachim.  Later  additions  were  Edouard  Rcmenyi  and 
Carl  Tausig.  Not  only  were  pianists  here,  but  violinists,  singers, 
painters,  sculjDtors,  poets,  and  literary  men  of  all  kinds,  all  of  whom 
found  something  inspiring  and  helpful  in  this  magical  and  unconven- 
tional atmosphere.  Since  1853  it  is  safe  to  say  that  every  concert 
pianist  in  the  world  has  been  for  a  longer  or  a  shorter  time  with  Liszt. 

A  wrong  idea  of  Liszt  as  a  pianist  is  held  by  those  who  suppose 
that  his  playing  is  characterized  by  great  force  and  extravagance. 
Lnagine  a  very  tall  and  slender  man,  more  than  six  feet,  with  enor- 
mously long  arms  and  fingers.  He  sits  bolt  ujiright,  his  long  legs  bent 
at  a  sharp  angle  at  the  knee.  The  trowsers  ai'e  held  down  by  straps. 
His  face  bears  an  ascetic  expression.  His  hair  is  long,  white,  and 
floats  upon  his  shoulders.  His  eyes  are-  half-closed,  and  he  scarcely 
ever  looks  at  his  hands.  He  sits  perfectly  still.  Those  long  fingers 
go  meandering  over  the  key-board  like  gigantic  spiders.  You  shud- 
der at  the  sight.  He  seems  to  bo  playing  slowly.  Tlie  touch  is  every- 
thing but  legato.  This  he  does  with  the  jied:;!.  Yet  in  this  easy,  non- 
chalant fashion  he  is  improvising  the  most  wi-erd  or  impressive  harmo- 
nies, or  plays  at  first  sight  the  most  difficult  j^roductions  of  other  vir- 
tuosi. Nay!  he  even  takes  a  full  score  of  a  ^^ianoforte  concerto  bv 
some  new  author,  and  plays  it  from  the  cramped  and  obscure  hand- 
writina:  as  coollv  and  vioforouslv  as  if  he  had  written  it  himself,  and  zt 
the  very  same  first  sight  reads  also  the  orchestral  ])arts,  and  makes 
spoken  comments  on  the  instrumentation  as  he  goes  along!  This,' 
which  sounds  like  a  rhapsodical  description,  is  literally  true  of  Liszt. 
xV  virtuoso  pupil  brings  him  a  fug'ue  on  which  he  has  sj^ent  much  prac- 
tice.     Liszt  thinks  it  too  slow,  and  plays  it  at  the  projjer  tempo.      The 


LISZT.  109 

youngster  takes  it  liome  and  works  at  it  six  weeks  before  he  brings  it 
up  to  the  rapid  tempo.  If  now  he  were  to  bring  it  again  to  Liszt,  he 
would  be  just  as  likely  to  play  it  again  in  yet  double  speed. 

Liszt  seems  to  have  been  expressly  designed  for  a  sort  of  appre- 
ciative older  brother  to  all  new  and  original  composers.  For  this  use 
his  temperament  exactly  suits.  The  points  ifi  their  work  that  criticism 
sticks  at,  are,  of  course,  the  new  and  sometimes  the  very  turning-points 
of  their  lasting  value.  These  points  Liszt  seizes  by  intuition.  Imper- 
fections of  a  triflino-  character,  or  even  of  a  serious  kind,  so  thov  do 
not  interfere  with  the  main  idea  of  the  work,  have  no  power  to  with- 
draw his  attention  from  vital  points.  It  was  Liszt  who  first  joined 
with  Schumann  in  recognizing  the  genius  of  Schubert.  It  was  Liszt 
who  even  went  beyond  Schumann  and  every  other  critic  in  recogniz- 
ino-  the  hiirh  artistic  significance  of  the  works  of  Berlioz  and  "Waarnor. 

As  a  composer  Liszt  has  worked  in  every  field.  He  is  never  re- 
poseful. His  works  are  generally  fragmentary.  They  are  character- 
ized by  intense  contrasts  and  sensational  transitions.  All  available 
resources  he  uses  unhesitatinglv.  His  influence  in  art  will  be  very 
great,  but  as  a  composer  it  will  probably  be  limited  to  his  own  genera- 
tion. His  power  is  rather  in  his  personal  inspiration  to  other  men  of 
genius,  than  in  a  vocation  for  a  distinctly  new  artistic  utterance,  ex- 
cept, indeed,  upon  the  pianoforte. 

Programme  of  Liszt  Illxtstrations. 

{Employing  two  Pianists  and  a  Soprano.) 

1.  Concerto  in  E  flat,  with  second  pianoforte  accompauiment. 

2.  Song,  "  Thou'rt  Like  a  Lovely  Flower." 

3.  a.  Waklesrauchen,  Concert  Study. 

b.  Spinning  Song  from  "  Flying  Dutchman." 

4.  "  Mignon's  Song." 

5.  a,.  Polonaise  Ileroique  in  E. 
h.  Schubert's  "  Wanderer." 

c.  Second  Hungarian  Rhapsody.    (Rivo  King  Edition.) 


200  HOW  TO    UNDERSTAND  MUSIC. 


CHAPTEE     FIFTY-ONE. 

WAGNER. 

In  the  old  University  city,  Leipsic,  was  born  on  May  22, 1813,  one 
Richard  Wagner,  who  for  many  years  lias  seemed  to  the  older  and 
more  conservative  musicians  to  be  turning  the  world  upside  down,  but 
who  in  the  outcome  bids  fair  to  add  another  name  to  the  list  of  Leipsic 
celebrities.  AVagner  was  the  son  of  a  police  magistrate,  and  a  relative 
of  the  distinguished  tragedienne,  Johanna  Wagner.  The  boy  was  in- 
tended for  the  law,  and  jDursued  his  studies  at  the  St.  Thomas  school 
until  he  was  about  seventeen.  Long  before  this,  however,  as  he  tells 
in  his  autobiography,  he  heard  Weber's  "  Freyschiitz"  and  a  symphony 
of  Beethoven,  and  thenceforth  he  forsook  the  Shakespearean  tragedies 
it  had  been  his  pleasure  to  compose,  in  favor  of  symphonies  and  over- 
tures. One  of  the  latter  was  actually  performed  at  the  Leipsic  thea- 
tre, but  the  effect  of  it  was  somewhat  marred,  Wagner  says,  by  the 
big  bass  drum,  which  he  had  brought  in  on  tlie  accented  part  of  every 
third  measure  throughout  the  piece;  whereat,  when  the  audience 
fairly  realized  it,  there  was  most  derisive   laughter. 

In  1830  AVagner  entered  as  a  music-student  at  the  University. 
In  this  year  he  carried  a  symphony  of  his  to  Dionys  AVeber  in  Vienna, 
who  praised  the  talent  he  displayed  in  it,  and  advised  him  to  study. 
Three  years  later  he  went  to  Warzburg,  vvhere  his  brother  Albert  lived, 
and  wrote  there  his  first  opera,  "Die  Feen.""  In  1837  he  went  to 
Koniorsburg:  as  musical  director,  and  two  vears  later  he  was  writins:  on 
his  "  Rienzi,"  at  Dresden.  Later  he  went  to  Paris,  and  on  the 
way  read  the  legend  of  the  "  Flying  Dutchman,"  and  in  the  sea  voy- 
age encountered  the  storm  he  has  represented  in  the  overture  to  that 
opera.  In  Paris  he  nearly  starved,  and  was  reduced  to  the  necessity 
of  writing  j^ianoforte  jjotpourris  to  boil  his  own  pot.  He  left  Paris  in 
184'2.  In  1844  and  1845  he  wrote  "  Tannhiiuser,"  and  very  soon  after- 
wards his  "  Meistersinger  von  Xiirnburg,"  and  had  sketched  "  Lohen- 
grin." "Rienzi"  was  brou<rht  out  for  the  first  time  in  Berlin  in  1847, 
with  great  success.  As  early  as  this  he  was  already  at  work  on  his 
poem  of '^  Siegfried's  Death."     In  the  year   1848  he   was   mixed  up  in 


wag.\"i:k.  ;iUl 

the  political  rovolutioii,  and  comjjolhid  to  fly  to  Switzerland.  The 
following  year  he  brovigiit  out  his  inijjortant  pampiilets  "Art  and  Rev- 
olution," "The  Art-Work  of  the  Future,"  and  was  at  the  same  time 
enirau'ed  in  tiie  study  ol"  the  "  Xiebelunijen  Lied."  As  alreailv  re- 
counted  ni  the  notice  of  Liszt,  it  was  at  ^Veiinar  that  "  Tannliaiiser  " 
and  ''  Loheng-rin  "  first  found  their  success.  Tiie  former  spran*'-  into 
popularity  and  in  1853  was  performed  in  Leipsic,  Frankfort  a.  ^L, 
Schwerin,  Uiisseldorf,  Cologne,  Bromberg,  Poscn,  Freyburg,  Konigs- 
burg,  Danzig,  Bremen,  Hamburg,  Riga,  Cassel,  Darmstadt,  etc. 

About  ISTO  AVagnei-  l)egan  to  plan  seriously  for  tlie  first  Bay- 
reuth  Festival,  whicli  took  })lace  August  13-17,  187G.  For  this  a  thea- 
tre had  been  erected,  complete  in  all  its  appointments,  at  an  expense 
of  over  half  a  million  dollars.  The  orchestra  was  composed  of  the  best 
musicians  in  Germany,  to  the  number  of  one  hundred,  and  the  singers 
embraced  the  most  dist in s-ui shed  artists  —  all  of  wiiom  volunteered 
their  services  for  the  occasion.  The  audience  was  from  every  part  of 
the  world.  The  scenic  effects  were  of  the  most  elaborate^  and  oforareous 
description.  In  this  magnificent  manner  two  performances  of  his  great 
quartette  of  operas  tiie  "  Ring  of  the  Niebelungeu  "  was  performed. 
This  festival  was  repeated  in  ]878. 

.As  an  artist  Wagner  stands  in  a  three-fold  capacity  :  as  a  mu- 
sician, in  wliicli  his  inliuence  has  been  on  the  whole  in  the  direction  of 
the  realistic,  and  beyond  the  romanlic.  The  Romantic,  as  we  saw  in 
tlie  earlier  parts  of  this  work  (Chap.  XXI),  rests  in  a  suggestiveness 
of  poetic  idea,  rather  than  in  an  actual  representation  of  the  external 
world;  whereas  Wagner,  without  attempting  the  impossible  in  seek- 
ing to  represent  actual  inanimate  existence  by  means  of  tones,  has 
many  times  represented  the  forces  and  effects  of  nature  with  remarka- 
ble cleverness,  as,  for  example,  the  storm  in  th(!  "Flying  Dutchman," 
the  sunrise  in  "  Lohengrin,"  etc.  Besides,  in  representing  emotion  he 
carries  it  to  the  verge  of  literalism.  As  an  orchestral  writer  he  is  an 
innovator,   and  one   of  the    greatest   masters   the    world  of  music   has 


ever  seen. 


Wagner  has  also  claims  as  a  poet,  and  lit(M-ary  man.  As  to  the 
literary  value  of  his  works,  opinions  in  Germany  differ.  But  there 
can  be  no  (|uestioii  as  to  the  remarkable  freshness  and  suggestiveness 
of  his  writings  on  music,  a  part  of  which  have  lately  been  translated 
into  En<rlish.  As  a  scenic  artist,  he  has  very  much  improved  the 
mechanisms  of  the  stage,  and  introduced  the  most  complete  spectacu- 
lar effects  yet  contrived.  Personally,  Wagner  represents  the  opposite 
disposition  to  that  of  Liszt.      For  whereas  Liszt  is  generous  and  (piick 


202  HOW  TO   UNDERSTAND   MUSIC. 

to  recoo'iiize  merit  in -all,  and  the  last  to  claim  any  for  liimself,  Wagoner 
is  so  entirely  absorbed  in  liis  own  ideas  as  to  have  little  time  to  study 
those  of  other  men.  Perhaps  T  shall  make  plainer  my  estimate  of 
Wagner  by  comj^aring  his  operatic  works  with  those  of  his  predeces- 
sors. 

Tlie  day  of  Wagner's  triumph  draws  near.  The  Bayreuth  Festi- 
val, the  persistent  quarreling  between  his  adherents  and  classic  mu- 
sicians, the  efforts  of  the  Thomas  orchestra,  all  have  done  something 
to  bring  it  on.  It  is  the  peculiarity  of  Wagner's  operas  to  hold  their 
own  wherever  they  once  gain  a  foothold.  Such  is  the  splendor  of 
their  instrumeatation,  the  magnificence  of  their  stage  effects,  and  es- 
pecially tkeir  remarkable  unity,  that  they  not  only  improve  on  acquain- 
tance, but  make  almost  all  other  operas  pale  in  comparison.  Their 
masterly  unity  is  the  great  point  in  their  favor.  They  exhibit  no  dis- 
crepancy between  poet  and  comjjoscr,  nor  between  both  and  the  stage- 
manager;  but  the  same  master  mind  that  conceived  the  plot,  elabora- 
ted the  dialogue,  and  the  musical  declamation  that  fitly  expresses  it. 
The  same  skill  seized  the  orchestra,  greatly  enlarged  it,  enriched  its 
treatment,  and  handled  it  in  complete  subjection  to  the  dramatic  idea. 
The  music  is  intense,  and  even  if  the  listener  fails  fully  to  compre- 
hend it,  he  can  but  feel  that  the  fault  is  with  him,  for  the  masterly 
grip  of  the  composer  is  expressed  in  every  strain. 

Wagner  is  the  legitimate  successor  of  Meyerbeer.  He  is  the  heir, 
who  having  buried  the  dead  body  "with  all  jiroper  respect,  lives  on  the 
property  bequeathed  him,  which  with  rare  skill  he  manages  to  increase 
four-fold. 

Meyerbeer  was  an  artist  in  effects.  There  is  scarcely  a  line  of 
really  heartfelt  musical  inspiration  in  all  his  writings;  yet  such  are 
the  stage  effects,  and  the  brilliancy  of  the  scoring,  along  with  the 
somewhat  over-strained  rhythms,  that  iiis  operas  form  excellent  stage 
pieces  for  large  theatres.  Meanwhile  the  spectator  feasts  his  eyes,  is 
impressed  by  the  gorgeousncss  of  it  all,  and  wonders  why  he  isnot 
affected,  wonders  why  he  is  even  (shall  he  say  it?)  a  little  bit  bored. 
He  dares  not  attribute  this  feeling  to  his  musical  superiority,  for  he 
well  remembers  hearins;  "Der  Frevschiitz"  with  pleasure  only  the 
niffht  before.  Two  nio^hts  afterwards  he  heard  "  Lohengrin  "  with 
enjoyment.  Why  then  does  he  stumble  at  Meyerbeer?  The  explana- 
tion is  to  be  found  in  the  change  of  standpoint  which  the  composers 
have  effected,  without  mentioning  the  fact,  until  Wagner  perceived 
it  and  explained  it.  Such  operas  as  "  Fra  Diavolo  "  and  "  Wm.  Tell  " 
are  written  to  amuse.     The   former  is  a  comedy.      The   music   is  me- 


WAG  .NEK.  O03 

lodious,  and  the  kind  of  melody  that  fits  into  easy  harmonies,  and  car- 
ries with  it  a  sense  of  play.  Wairner's  nnisic,  on  tlie  other  hand, 
carries  with  it  a  sense  of  work,  and  v(M-y  hard  work  it  is  too.  The 
Gluck  operas  were  designed  as  music-dramas.  This  was  also  Mozart's 
idea  of "  Uon  Juan."  In  this  idea  he  was  exactly  contrary  to  the 
author  of  the  libretto,  Da  Ponte,  who  designed  merely  a  comedy. 
Mozart  was  himself  too  good  natured,  and  too  mucli  a  man  of  his  time 
to  fully  carry  out  his  own  inner  conviction.  Besideg,  the  world  had 
wrestled  faithfully  with  the  workiiuj  music  of  Bach,  and  was'just  then 
ready  only  for  something  that  could  be  enjoyed  without  work.  In 
his  ensembles  Mozart  discards  well-turned  tunes,  and  elaborates  lonor 
finales  of  inlierently  dramatic  music,  rising  finally  to  a  powi^rful  Imt 
not  showy  climax.  On  the  other  hand,  his  peasants  and  smaller  char- 
acters speak  in  melodies  of  the  most  deliciously  simple  cut,  and  these, 
while  dramatically  true,  serve  at  the  same  time  to  amuse  the  audience. 
Thus  the  Mozart  standpoint  is  not  consistent  witli  itself;  and  hence, 
in  spite  of  their  beauty,  the  Mozart  operas  do  not  fully  satisfy  either 
party.  Beethoven  in  his  "  Fidclio  "  intended  to  be  true  to  the  drama, 
and  his  music  in  that  opera  is  of  the  most  refined  and  ])oetic  descrip- 
tion. Still  Beethoven  was  too  good  a  musician  to  be  a  good  opera 
composer.  In  his  idea,  repose  was  an  element  of  beauty.  Now  re- 
pose shows  itself  in  music  in  the  well-rounded  return  of  melodies  upon 
themselves,  and  in  the  intervention  of  simple  passages  to  serve  as 
contrasts  with  the  more  noble  and  passionate,  in  the  same  way  that 
the  delicious  idiocy  ol  the  grave-digger  in  "  Handet "  relieves  the 
attention  and  serves  to  emphasize  the  subtilty  and  high  intellectual 
quality  of  much  that  occurs  in  the  same  connection.  It  was  impossible 
for  Beethoven  not  to  regard  musical  symmetry.  Yet  this  must  be  dis- 
regarded if  the  opera  is  to  lie  really  a  drama.  Another  element  of 
repose  in  Beethoven,  and  in  all  the  composers  before  AVagner,  is  the 
simplicity  of  the  harmonies.  Dissonances  do  not  abound.  This  and 
the  decided  tonality  of  almost  every  period  makes  tlie  harmonic 
structure  clear,  and  bv  so  much  assists  the  hearer.  All  tlie  Italians 
have  written  opera  first  for  the  voice,  and  secondly  to  amuse. 

The  Wagner  music-dranja,  on  the  other  hand,  is  not  an  amuse- 
ment, and  was  not  tlesigned  to  be.  It  is  a  work  of  art;  a  powerful 
achievement  of  the  imao-iuation,  actinu:  throuiz-h  a  cond)ination  of  mu- 
sically  declaimed  speech,  dramatic  action,  and  an  orchestra  controlled 
solely  for  the  purpose  of  heightening  the  effect.  "Wagner's  standpoint 
is  consistent  with  itself,  whether  the  true  one  or  not.  He  does  not 
sock  effects  merely  as  such,  but  only  where    they   trutlifuUy  belong  to 


20i  HOW  TO   UNDERSTAND   MUSIC. 

the  drama.  He  neither  sacrifices  to  the  prima-doniia  by  means  of 
encore-compelling  cadenzas,  nor  to  the  groundling  with  airs  that  may 
be  whistled.  If  the  singers  make  effects  they  must  do  so  through  the 
intelligence  and  power  of  their  declamation,  and  by  the  intensity 
and  truth  of  their  action.  Such  demands  as  these  for  a  time  disabled 
both  singers  and  hearers.  Wagner  has  had  to  wait  twenty-five  years 
for  a  generation  of  singers  who  have  mastered  the  art  of  the  lyric 
stage  in  this  conceptioti,  and  even  now  their  number  is  small.  So  also 
audiences  and  critics  had  to  be  educated  to  the  new  order  of  things, 
before  they  could  recognize  the  merit  that  showed  itself  in  the  new 
"way. 

Let  us  consider  two  of  Wagner's  operas,  "The  Flying  Dutch- 
man "  was  written  thirty  years  ago.  Wagner  had  only  set  out  on  the 
new  path.  He  had  not  then  mastered  his  ov/n  idea.  His  arioso  style 
was  not  yet  smooth.  But  the  dramatic  structure  of  the  play  is  simple, 
effective,  and  well  contrasted.  It  was  originally  designed  to  be  played 
in  a  single  act.  This  for  the  sake  of  unity.  It  is  now  plaj^ed  in  three. 
The  first  is  in  the  little  bay  where  the  ships  of  Daland  and  Vander- 
decken  have  taken  refuge  from  the  storm.  Here  are  male  choruses, 
the  pilot's  beautiful  song,  the  monologue  of  Vanderdecken,  and  the 
dialogue  between  him  and  Daland.  The  second  act  takes  place  in 
Daland's  house,  and  makes  us  acquainted  with  Senta,  and  afterwards 
brings  in  her  would-be  lover,  Eric,  and  later  the  Dutchman  himself. 
In  this  act  there  is  a  female  chorus.  The  third  act  takes  place  on  the 
quay,  the  peasants  on  shore,  the  Dutchman's  ship,  which  presently 
sets  sail  and  departs.  The  stage  situations  are  simple,  plausible,  and 
effective.  Already  here  is  a  music-drama  with  a  conceivable  plot. 
The  musical  contrasts  in  this  work  are  fine.  The  work  opens  with  the 
sailors'  chorus,  bold,  wild,  and  original;  then  follows  the  pilots'  song, 
wh'cli  comes  very  near  the  spirit  of  the  Italian  aria.  Much  that  fol- 
lov.s  between  Vanderdecken  and  Daland  is  a  little  tedious,  but  the  act 
concludes  with  the  sailors'  chorus  that  opened  it.  In  the  second  act 
the  music  brino-s  Senta's  verv  strikino-  l)allad,  the  legend  of  the 
"  Flying  Dutchman,"  the  spinning  chorus  of  the  girls,  as  well  as  much 
that  is  less  intelligible.  If  the  standpoint  be  once  conceded  that  opera 
is  a  music-drama,  and  not  simply  a  "play,"  there  is  nothing  in  this 
work  but  possesses  interest.  Wagner  lias  not  over-stepped  the  ability 
of  music.  His  next  opera  was  "Tannhiiuser,"  and  then  came,  three 
years  afterwards,  "  Lohengrin."  "  Tannhiiuser "  goes  farther  in  the 
new  direction.  Several  of  its  numbers  are  great.  But  it  is  in  "  Lo- 
hengrin "  that  his  genius  takes  a  bolder  flight.     The  unity  of  this  piece 


WAGNER.  205 

is  complete.  It  does  not  present  the  aspect  of  a  series  of  disconnected 
numbers  strung-  togetlier  by  a  chain  of  recitatives,  but  from  first  to 
last  it  is  cojisistent  witii  itself.  In  this  work  Wao-ner  has  attained  a 
high  mastery  over  his  favorite  ideal,  the  dramatico-musical  ileclama- 
tion.  Tills  varies  very  much  in  style.  Some  of  it  is  lyric  in  every- 
thing except  tlie  rounding  of  the  [)eriods;  other  parts  run  into  a 
well-cadenced  recitative  of  entirely  new  cut,  accompanied  \)v  a  flowin^r 
melody,  or  rather  a  melodiouslv-fiowin":  river  of  orchestration.  The 
latter  is  in  itself  a  study.  Leading  motives  already  apj)ear  in  it;  these 
striking  bits  of  melody  are  each  one  associated  with  an  important 
moment  in  the  drama.  Each  is  worked  into  the  musical  comment 
upon  the  moment  to  which  it  belongs.  Later,  when  the  consequences 
of  such  a  moment  begin  to  appear,  this  motive  returns  with  greater  or 
less  emphasis.  Such,  for  example,  is  the  striking  bit  of  melody  in 
which  Lohengrui  in  tiie  first  act  solemidy  enjoins  Elsa  never  to 
ask  his  name.  Li  the  third  act,  when  Elsa  begins  to  approach  the 
fatal  question,  this  motive  begins  to  occur  in  the  instrumentation.  At 
first  it  is  hinted  at  obscurely.  Then  it  comes  stronger  and  stronger, 
until  finally  just  before  the  fatal  question,  it  is  given  out  boldly  and 
with  solemnity.  So  speaks  conscience  to  the  wavering  heart;  except, 
unfortunately  that  conscience,  lazy  jade,  is  too  apt  to  reverse  the 
order  of  emphasis,  speaking  weaker  and  yet  weaker  as  the  fatal  mo- 
ment of  yielding  nears. 

'  Loheriffi'in  "  is  a  true  drama.  Thouo-h  founded  on  a  mvth,  it 
deals  with  the  eternal  conilict  between  good  and  evil.  This  conflict 
here  is  veiled  somewhat,  and  in  this  the  nobility  of  the  drama  is  ele- 
va-ted.  For  although  the  ending  shows  the  separation  of  Lohengrin 
and  P]lsa,  l)rought  about  by  the  evil  working  through  Ortrud,  the  eifect 
is  reached  without  any  loss  of  virtue  in  the  hero  and  lieroine  who  have 
occupied  our  attention.  The  ending  has  genuine  pathos  witliout 
tra<''edv.  The  diiferent  acts  are  symmetrical]  v  balanced  over  a<i;ainst 
each  other.  The  evil  stands  in  Ortrud  and  Frederick.  The  first  act 
shows  the  wager  of  battle  and  the  triumph  of  the  right.  The  second 
act  has  the  evil  for  its  motive.  The  evil  begins  and  well-nigh  ends  it. 
The  third  act  shows  a  fictitious  triumph  for  the  evil.  Yet  it  brings 
also  the  death  of  Fredei'ick.  The  scenic  effects  are  sjjlendid.  The 
first  scene  is  extremely  1)ril]iant,  and  tlie  entrance  of  Lohengrin  is 
beautiful.  The  second  act  opens  with  a  long  duet  between  Ortrud 
ami  Frederick.  This  takes  place  in  the  night,  on  the  steps  of  tlie 
church,  w.here  the  liright  moon  casts  a  dark  sliadow.  The  sulijcct 
matter  of  the  dialogue  is  hate  and  vengeance,  and   it  ends  with  ( )r- 


206  HOW  TO   UNDERSTAND   MUSIC. 

trud's  profane  appeal  to  false  gods,  uttered  in  the  very  shadow  of  a 
temple  to  Jehovah.  The  contrast  here  implied  is  forcible  and  poeti- 
cally conceived.  The  scene  is  long,  partly,  perhaps,  in  order  to  allow 
the  impression  of  the  first  act  to  subside.  Then  enters  Elsa  on  the 
balcony,  and  her  song  of  love  is  one  of  the  purest  and  most  beautiful 
on  the  stao-e.  One  analyzes  it  in  vain  to  find  its  secret.  It  is  not  in 
the  song  alone,  nor  in  the  accompaniment,  nor  yet  in  the 
scenic  effect;  but  rather,  perhaps,  in  one  of  the  most  perfect  unions 
of  all  these  elements  ever  accomplished  by  any  composer.  Tart 
of  the  effect  is  due  doubtless  to  the  contrast  with  the  scene 
immediately  preceding.  The  following  bit  of  stage  eifect,  where 
the  warders  blow  their  trumpets  from  the  towers  of  the  castle 
at  the  approach  of  dawn;  the  gradually  increasing  light,  the 
music  that  accompanies  it,  the  gathering  of  the  people  in  the  square — 
all  these  have  no  bearing  on  the  developement  of  the  story.  Thev 
form  a  splendid  scenic  effect  that  serves  to  relieve  the  attention  pre- 
paratory to  what  follows. 

Wagner  has  himself  pointed  out  that  Shakespeare  expected  im- 
possibilities from  his  actors.  Men  of  mediocre  minds,  untrained  and 
hampered  by  the  necessity  of  daily  toil,  arc  required  to  assume  heroic 
parts,  where  keen  wits  and  strong  passions  are  clothed  in  noble  human 
forms,  such  as  it  is  impossible  for  them  with  their  experience  and  low 
imaginations  to  conceive  of,  much  less  to  fitly  personate.  He  say.s 
that  this  must  always  be  the  case  in  master-works  of  imaofination,  and 
he  has  not  hesitated  to  go  perhaps  farther  in  this  direction  than  even 
Shakespeare.  For  the  dramatic  part  finds  its  actor  when  it  finds  in- 
telligence, flexible  mimicry,  good  declamation  and  suitable  personnel 
combined.  But  Wagner  goes  further.  With  these  important  qualifi- 
cations must  coincide  the  infinitely  rarer  one  of  a  phenomenal  voice  of 
the  proper  range.  Now  your  singer  begins  by  training  his  voice.  To 
train  his  voice  he  goes  to  Italy.  If  he  has  time  or  ambition,  perhaps 
he  does  a  little  something  in  the  way  of  training^  his  intellect.  As  a 
rule,  however,  he  stops  with  his  throat,  or  if  beyond  that,  with  his 
arms  and  legs.  Hence,  we  may  expect  that  an  adequate  appointment 
of  principals  in  "  Lohengrin"  will  be  something  like  ten  times  more 
rare  than  an  adequate  support  for  Booth  or  Barrett  in  "Hamlet"  or 
"  Shylock." 

To  the  chorus  Wagner  has  been  still  more  cruel.  He  has  written 
for  the  militia  of  the  stage,  evolutions  possible  only  to  regulars  in  com- 
]ilete  training.  On  the  whole,  the  orchestra  has  come  up  to  its  part  in 
this  compound  work   rather  more  promptly  than  the  others.     "  Lohen- 


WAGNER.  207 

grin  "  is    no  longer  impracticable   for    orcliostral  players.      The  weak 
point  in  the  Wagner  drama,  the  fallacy  that   underlies  its  whole  con- 
ception, is  a  misapprehension  of  the  capacity  of  music.     Music  is  tiie 
language  of  love  and  of  serious  and  noble  affection.     It   may  become 
so  little   musical   as  to  express  apprehension   and  grief.     But  hate  is 
discord,  bold   and  biting.     Dissonance  is   a  discord   that   is  musically 
cured   by  what   is  called  "  resolution,"  or  its    subsidence  into   conso- 
nance.    Thus  sorrow  and  trouble  are  cured  into  peace.     But  hate  can 
not  subside  into  love;  it  is  contrary  to  love.     Hence,  the   sounds   that 
properly  represent  it  are  not  those  of  "  sweet  bells  jangledoutof  tune,"' 
but  rather  the    mutterino-s   and  crashinjrs  of   on-comino-  doom.    Such 
a  scene  as  tliat  between  Oitru<l   and    Frederick,  in  the    second   act    of 
*'  I^ohengrin,"  can  be  made  interestino:  onlv  bvan  Oilrud  rarelv  irifted 
■with  passion  and  dramatic  art;  and  the   interest   then   excited  is  but  a 
hellish  fascination.     Such  a  scene  is  an  ungrateful   strain   u])on  the  at- 
tention, and  it  is  questionable  whether  it  has  any  business  with  music 
at  all. 

Another  weak  point  in  this  drama  is  its  lack  of  repose.  As  we 
have  already  seen,  the  old  operas  afford  a  sense  of  repose  by  the  arias 
which  suspend  dramatic  movement  and  attract  the  musical  attention. 
In  the  Wagner  drama,  on  the  contrary,  there  is  no  suspension  of  the 
action  except  where  an  act  is  completed.  In  accordance  with  this, the 
musical-declamation  falls  into  what  Wagner  calls  an  "  endless  melody," 
which  to  a  certain  extent,  is  a  contradiction  of  terms. 

Still  the  entire  parts  of  the  King,  Elsa,  and  Lohengrin  admit  of 
being  well  done.  They  are  not  impossible,  any  more  than  Portia  and 
Shylock  are  impossible.  They  ask  merely  for  endowments  and  genius 
— endowments  being  tlu^  IxmIv,  and  genius  the  soid. 

Nothing  is  more  conspicuous  in  Wagner  than  his  lack  of  wit  or 
humor.  He  is  always  grimly  in  earnest.  Doubtless  in  his  estimation, 
wit  is  out  of  place  in  a  noble  work.  But  here  he  might  have  drawn  a 
lesson  from  Shakespeare.  Surely  playfulness  is  not  fartlier  from  a 
noble  imagination  than  sensuality.  Yet  this  he  has  not  scrupled  to 
depict  in  "Tannliaiiser,"  and  still  more  decidedly  in  some  of  his  later 
works. 

Be  the  final  out-come  what  it  mav,  the  Wacfiier  drama  makes  a 
powerful  appeal  to  the  senses  and  the  intelligence.  Unqiu^stionably 
it  has  genius.  Whether,  on  the  whole,  it  is  worth  the  trouble,  wlio 
sliall  sav?  Meanwhile,  there  is  room  down-stairs  for  the  average  opera. 
The  world  will  alwavs  contain  those  wiio,  as  it  has  been  said,  "  sjo 
throuo^h  life    like  flies,  seeking    oidv  to    be  amused."     Yox  them    the 


208  HOW  TO   UNDERSTAND   MUSIC. 

Wagner  "Art- Work  of  the  Future  "  wiJl  never  possess  beauty  or  even 

intelliofibilitv.     But  earnest  souls,   whether  aa-reeina;   with    the  com- 

poser  or  not,  w'ill  always   recognize  in   Richard  Wagner    an    earnest 

man,  a  genius,  and  a  Great  Master. 
»■ 

Wagner  Illustrations. 

{Employing  two  Pianos,  a  Soprano,  Tenor  and  Chorus  of  Female  Voices.) 

1.  Overture  to  "Tannliiluser."     8  hands,  two  pianos. 

2.  Elsa's  Balcony  Song  from  "  Lohengrin." 

3.  Romance.     The  Evening  Star ;  from  "  Tannhauser."     Tenor. 

4.  Elizabeth's  Song  from  "  Tanuhiluser."     Soi)rano." 

5.  Grand  March  from  "  Tannhauser."     Liszt  (piano  solo). 

6.  Spinning  Song  from  "  Flying  Dutchman."     Female  chorus. 

7.  Ride  of  the  Valkyrie.     For  two  pianos. 


CHAPTER    FIFTY-TWO. 

CONCERT  PROGRAMMES  AND  THEIR  EFFECTIVE  COMPOSITION. 

In  selecting  pieces  for  a  musical  performance,  the  first  considera- 
tion, properly,  should  be  their  adaptation  to  the  end  proposed  in  the 
performance  or  production  of  the  music.  Thus,  for  example,  a  per- 
formance may  be  intended  to  illustrate  the  work  and  genius  of  a  par- 
ticular composer.  In  that  case  the  first  consideration  is  to  select  a 
sufficient  number  of  his  best  works  to  represent  him  in  the  strongest 
light.  Or  it  may  be  desired  to  contrast  the  genius  of  two  different 
composers,  in  which  case,  of  course,  care  will  be  taken  to  select  the 
most  characteristic  pieces  of  both.  Or  the  production  of  music  may 
be  designed  to  give  pleasure  and  zest  to  an  evening  gathering  in  a 
parlor.  Or  it  may  be  intended  to  illustrate  the  varied  powers  of  a 
great  pianist,  in  which  case  the  selections  must  cover  a  wide  range. 
And  so  we  might  go  on  for  pages,  enumerating  the  possible  purposes 
for  which  musical  illustration  is  sought.  But  it  must  suffice  to  lay  down 
clearly  the  law,  that  every  performance  of  music  must  have  an  intelli- 
gent purpose,  in  order  to  produce  an  intelligent  effect;  and  that  this 
purpose  must  be  regarded  in  the  selection  of  every  piece  upon  the 
programme. 

In  the  second  place,  the    means  available    will    enter   into   and 


CONCERT    PROGRAMMES.  ^09 

modify  the  conclusions  iinivod  at  under  tlie  principle  just  enunciated. 
Thus  it  may  happen  that  some  asi)ect  of  Bach's  work  is  the  point  of 
consideration,  while  the  performance  is  to  take  place  in  a  town  or 
room  where  there  is  no  organ.  In  this  case,  of  course,  a  pianoforte 
arrangement  of  tlie  work  must  serve,  or  a  different  piece  altogether  be 
chosen.  Or  it  may  be  that  some  of  the  difficult  works  of  Chopin  jr 
Liszt  are  wanted,  while  yet  there  is  no  player  availal)le  to  perform 
them  well.  In  such  a  case  easier  pieces  must  be  taken,  or  four-hand 
arrangements  of  the  same,  or  an  abler  performer  secured.  The  genius 
of  Handel  may  be  in  question,  where  there  is  neither  chorus  nor  even 
a  solo  singer  available,  and  consequently  it  becomes  impossible  to 
represent  him,  except  inadequately,  in  an  instrumental  performance 
of  pieces  written  iov  voices.  In  all  these  and  such  like  complications, 
which  are  innumerable,  concessions  must  be  made  on  both  sides, 
until  a  practicable  mean  is  reached.  Only  we  may  be  very  sure  that 
no  concert  or  musical  perTormance  can  produce  a  satisfactory  effect 
unless  it  consists  of  intelligently  chosen  pieces,  practicable  for  ncr- 
formance  by  the  players  or  singers  available. 

Then,  in  the  third  place,  the  pieces  must  be  intelligentli/  arramjcil 
in  the  programme.  This  involves  several  different  principles,  one  or 
more  of  which  are  violated  in  almost  every  programme.  The  first  of 
of  these  is  the  law  of  contrast.  Music  expresses  feeling.  Feeling  is 
merely  modification  of  consciousness.  There  is  no  absolute  scale  of 
emotion.  ^lirth  seems  like  insanity  if  too  long  continued.  Grief  be- 
comes tolerable  after  a  while.  The  human  system  attunes  itself  to  the 
key.  Thus  it  is  with  the  weather.  On  a  clear  day,  a  slight  becloud- 
ing is  niimediately  noticed.  On  a  rainy  (hiy  the  very  same  sky  may 
be  so  much  above  the  general  dullness  as  to  brighten  anticipation  with 
the  hope  of  fair  weather. 

The  second  law  is  that  of  ^:)rO(7rgssto??.  in  the  emotional  determina- 
tion of  the  music.  This  law  is  almost  universally  disregarded  in  pro- 
grammes. Let  us  refI(K't  upon  our  own  hal)its  of  mind.  \V"e  liegiii 
the  day  brio-htlv,  indeed,  but  seriouslv.  A  whole  dav's  work  lies  be- 
fore  us.  Presently  we  become  fatigued  and  rest  a  bit.  Towards  night 
the  serious  thought  of  the  morning  gives  place  to  the  sense  of  duty 
well  done,  and  tlie  feeling  of  deserved  repose.  It  is  then  that  we 
gladly  turn  ourselves  to  enjoyments  and  pastimes  for  which  in  the 
morning  we  had  little  appetite.  Or,  to  put  it  in  another  way,  at  tlie 
beginning  of  a,  concert  the  audience  is  fresh  and  interested.  It  is  then 
that  tlie  serious  work  should  be  heard.  Later,  the  air  in  the  room  bo- 
comes  impoverished,  and  the  listener  tired.     It   is   then  that  they  re- 


210  HOW  TO    UNDERSTAND   MUSIC. 

•\-i\'e  vuider  the  magical  excitement  of  the  well-sounding,  the  lively  and 
the  sensational. 

Again,  progression  must  be  carried  farther,  even  to  climax.  \\\ 
this  a  misconception  may  easily  lead  to  undesirable  results.  Tl)e 
climax  must  be  sought  along  the  line  of  natural  emotional  progress,  as 
already  defined.  For  the  programme  to  close  with  a  great  and  serious 
work,  like  Bach's  Chromatic  Fantasia  and  Fugue,  after  light  salon 
pieces,  and  sensational  pieces  by  Liszt,  might,  indeed,  be  a  climax  in 
the  line  of  the  intellectual,  but  it  could  not  possibly  succeed;  because 
this  composition  of  Bach's  is  of  a  highly  intellectual  structure,  and  can 
be  satisfactorily  followed  only  by  similar  vigor  of  mind,  which,  as 
already  pointed  out,  is  not  to  be  reasonably  expected  in  an  audience 
fatigued  by  a  long  programme.  The  climax  which  can  most  easily  be 
reached  is  one  of  jihysical  effect;  as,  for  example,  when  all  the  singers, 
after  having  previously  appeared  in  solos  or  duets,  unite  in  an  ensemble 
])iece  to  close  a  part.  This  practice  has  much  to  commend  it.  In 
"  recitals,"  where  only  a  single  singer  or  player  takes  part,  this  form  of 
climax  is  of  course  impossible.  But  the  same  result  can  be  reached  in 
aiaother  way,  namely,  by  bringing  the  most  sensational  pieces  toward 
the  end  of  the  programme. 

When  different  composers  are  represented,  the  historical  order  is 
in  general  the  best,  because  the  development  of  music  has  been  from 
the  intellectual  and  artificial  to  the  well-sounding,  the  emotional,  the 
expressive,  and  the  more  completely  beautiful;  and,  even  beyond  this, 
to  the  sensational  and  astonishing.  Yet  this  historical  order  may  fre- 
quently be  varied  with  good  effect.  Sherwood,  the  pianist,  sometimes 
introduces  Handel's  "Fire  Fugue"  into  the  middle  of  a  pi'ogramme, 
after  one  of  the  lighter  sonatas  of  Beethoven,  or  even  more  modern 
compositions.  So  placed,  it  has  the  force  of  a  complete  contrast  with 
the  pieces  before  and  after  it,  and  while  it  relieves  the  emotional  ten- 
sion and  thereby  heightens  the  beauty  of  the  pieces  in  immediate 
proximity  to  it,  it  is  heard  for  itself  as  little  more  than  a  piece  of 
virtuoso  finger- work. 

It  is  impossible  to  give  examples  of  programmes  suitable  for  models, 
since  the  circumstances  vary  so  much.  It  must  serve  our  present 
purpose  to  point  out  the  principles  which  properly  should  be  considered 
in  selecting  and  ai-ranging  the  pieces,  and  beyond  these  to  refer  the 
student  to  the  study  of  entire  operas  and  oratorios,  which  are  in  effect 
completely  original  programmes,  determined  after  much  study,  by  men 
who  not  only  appreciated  music,  but  possessed  creative  ability  in  it. 
One  would  do  well  to  study   the   programmes  of  Mr.  Theo.  Thomas, 


THE   PSYCHOLOGICAL  RELATIONS   OF   MUSIC  on 

who  possesses  a  fastidious  taste,  and  lias  liad  tlie  advantage  of  almost 
unlimited  experience  and  observation.  The  illustrations  at  the  end  of 
the  chapters  in  this  book  are  not  to  be  taken  for  model  program mes, 
since  they  have  not  been  made  for  the  sake  of  the  music  as  a  wiiole, 
but  only  for  the  sake  of  such  and  such  phases  of  it,  which  form  the 
subjects  of  the  dill'erent  chapters. 


CHAPTER     FIFTY  -  1TTREE. 

THE  PSYCHOLOGICAL  PvELATIONS  OF  MUSIC. 

The  limits  within  wliich  this  chapter  is  necessarily  concluded,  do 
not  permit  a  thorough  discussion  of  the  psychological  relations  of 
music,  even  if  the  present  state  of  knowledge  regarding  sense-jiercep- 
tion  were  such  as  to  make  it  possible.  There  are,  however,  certain 
points  which  need  attention,  on  account  of  the  practical  bearing  they 
liave  upon  the  co-ordination  and  adaptation  of  educational  means. 

Attention  must  first  be  calh^d  to  the  extremely  complex  activities 
of  the  mind  involved  in  the  perception  and  enjoyment  of  music,  es- 
pecially of  the  finer  kinds.  A  piece  of  music,  if  only  a  single  period 
of  simple  melody,  reaches  the  brain  in  the  form  of  individual  sense- 
perceptions,  which  are  there  somehow  taken  account  of  and  perhaps 
remembered  entire;  at  all  events  compared  in  various  ways,  whereby 
their  coherence  is  realized.  These  comparisons  are  of  several  orders: 
such  as  those  of  jntch.,  whereby  tonality  or  coherence  in  key  is  per- 
ceived; rhythm,  whereby  all  the  tones  are  compared  with  some  unit 
of  time,  and  all  tlie  phrases  with  each  other,  so  that  in  the  out-come 
the  melody  is  perceived  as  determinate  in  measure,  motivization  and 
symmetry  of  structure;  and  poj'^er,  whereby  the  intensity  of  the  cause 
is  estimated.  These  comparisons  of  pitch,  moreover,  are  greatly  com- 
plicated by  the  harmonic  treatment,  and  by  the  orchestral  coloring,  if 
the  music  be  for  tin;  orchestra.  All  sucli  comparisons  go  on  uncon- 
sciously, or  rather  sub-consciously,  and  cohsciousness  takes  cognizance 
only  of  the  result,  as  complete  periods  and  forms  are  turned  over  to  it. 

Different  o-rades  of  music  make  verv  dilferent  demands  uiion  these 
three  classes  of  comjiarison.  Light,  ])c^pular  nnisic  is  simple,  and  ex- 
tremely limited  in  the  range  of  its  harmonies  and  the  comjilexity  of 
its  melodies.     The.  memory  of  a  single  phrase-rhythm,  and  of  the  three 


212  HOW  TO   UNDERSTAND   MUSIC. 

principal  chords  of  the  key,  exhaust  the  catalogue  of  its  demands  upon 
the  mind.  A  fugue  deals  with  a  single  subject,  and  hence  fi'om  a  mel- 
odic point  of  view  is  easy  to  follow;  but  its  harmonic  structure  is 
highly  elaborate,  and  the  subject  itself  dodges  about  so  from  one  voice 
to  another,  that  the  unwary  easily  misses  it.  A  sonata  is  longer,  and 
contains  more  subjects,  is  even  more  diversified  in  harmonic  treatment 
than  a  fuo;-ue.  Hence,  thouo-li  not  so  severe,  because  not  dealing-  ex- 
clusively  witli  a  single  subject,  it  makes,  in  some  respects,  even  greater 
•demands  upon  the  attention. 

Aptitudes  for  performing  these  comparisons  and  co-ordinations  of 
elementary  sense  j^erceptions,  vary  extremely  in  individuals,  and  in 
many  cases  fail  entirely  in  one  department,  or  more.  Absolute  ina- 
l)ility  to  perceive  pitch-relation  is  very  rare;  but  an  inability  to  follow 
anything  more  than  an  easy  digression  from  one  key  to  another  is 
very  common,  probably  from  failure  in  liarmonic  perception.  Rhyth- 
mic sense  is  frequently  imperfect,  although  this  is  the  simplest  of  the 
acts  involved  in  music.  All  rhythm  in  music  consists  of  multiples  or 
relations  of  twos  or  threes.  Relations  of  tioo  and  all  its  multiples  by  itself 
are  almost  universally  intelligible;  relations  of  ^Aree  are  frequently  be- 
yond the  individual.  Thus  in  all  the  so-called  failures  in  the  musical  ear 
of  pupils,  the  teacher  will  do  well  to  observe  carefully  in  what  depart- 
ment of  perception  the  failure  takes  place,  and  in  a  great  majority  of 
cases  means  can  be  found  for  supplying  the  missing  link.  This  is  to 
be  done  by  a  course  of  exercises  in  hearing^  after  the  general  plan  of 
the  object-lessons  in  the  early  parts  of  this  course;  which,  indeed, 
will  l)e  found  helpful  in  many  cases  where  positive  deficiencies  of  aj)- 
titude  are  unsuspected  by  the  teacher.  The  Mason  system  of  rhyth- 
mical treatment  of  exercises  is  also  very  helpful  in  cases  where  the 
sense  of  rhythm  is  imperfect. 

An  attentive  study  of  the  lines  of  perception  indicated  in  the  first 
twenty  chapters  of  this  course,  will  serve  to  explain  what  we  already 
knew  by  observation,  namely,  that  the  finer  and  more  highly  devel- 
oped forms  of  music  are  appreciable  only  by  persons  of  active  mind, 
nor  even  by  these  generally,  except  after  more  or  less  practice.  We 
have  also  seen  that  music  is  intimately  connected  with,  or  related  to, 
that  great  class  of  modifications  of  consciousness  we  call  e?notions, 
which  extend  from  those  almost  imperceptible  shades  of  elation  or  de- 
pression occasioned  by  trivial  matters  or  atmospheric  influences,to  the 
mightiest  movements  of  the  soul,  wherein  the  whole  being  is  over- 
whelmed by  the  surges  of  passion,  agony  or  grief  ;  or  borne  aloft  on 
the  swellings  of   delight,  joy,   or  blessedness  and    spiritual   triumph. 


THE   PSYCHOLOGICAL   RELATIONS   OF   MUSIC  213 

Human  life  is  nuulo  up  of  sucli  emotional  transitions,  ami  the  oreater 
part  of  them  take  place  within  us  through  tlie  operation  of  causes  of 
which  at  the  time  we  are  frequently  unconscious. 

The  relation  of  music  to  emotion  lies  partly  in  the  rhythm,  the 
pulsation  of  which  hastens  or  retards  the  human  pulse,  while  the  mo- 
tivization  intensifies  and  varies  the  stimulus.  \Vitli  this  the  melodic 
content  chimes  in.  A  preponderance  of  accent  or  emphasis  on  the 
strong  tofies,  or  on  the  sad  tones  of  the  scale,  also  has  great  power. 
Then,  too,  music  has  positive  value  in  its  ability  to  interest  and  occupy 
the  mind,  or  at  lea.st  to  awaken  it  to  activity.  An  eminent  barrister 
s])eaks  of  an  evening  at  the  opera  as  the  best  prejjaration  for  a  trving 
L'Hse  in  court.  The  reason  of  this  is  doubtless  to  be  found  in  the  ab- 
sorbing character  of  the  opera  as  an  anmsing  and  complicated  body  of 
tiense-perceptions,  which  causes  liim  fur  a  time  to  forget  his  case  and 
thereby  rest  his  mind;  and  in  the  stimulative  effects  of  the  rhythms 
prevalent  in  opera,  which  have  the  effect  of  quickening  the  activity  of 
the  mind,  l)y  means  of  which  much  of  his  thinking  is  done  for  him  sub- 
consciously— as  we  all  know  in  what  are  sometimes  called  the  auto- 
matic activities  of  the  brain.  In  this  and  many  similar  cases  we  have 
a  suggestion  of  a  possible  value  of  music  as  a  mind  quickener;  which 
also  tallies  with  the  well-known  fact,  already  adverted  to,  that  the 
higher  and  finer  kinds  of  music  are  enjoyed  only  by  those  of  active 
mind. 

Again,  the  psychological  relations  of  musical  performance  deserve 
attention,  even  if  what  we  can  say  takes  only  the  form  of  suggestion. 
A  musical  performance,  as  upon  the  pianoforte,  is  in  fact  a  lenu'thv 
and  elaborate  series  of  muscular  operations,  the  proper  co-ordination 
of  which  is  accomplished  ])y  means  of  various  combinations  into  sec- 
ondary reflexes.  In  an  important  piece  all  the  scale  and  arjieggio 
passages,  and  most  of  the  accompaniments  are  either  partly  or  com- 
pletely automatic  in  character,  and  the  melody  notes  only  are  purely 
the  product  of  direct  volition.  It  is  in  this  way,  by  concentration  of 
attention  upon  the  melody  notes,  which  after  all  contain  the  real  idea, 
that  music  is  interpreted  to  the  listener.  Now  this,  which  seems  so 
easy  in  the  saying,  carries  with  it  important  conclusions,  which  have  a 
most  significant  bearing  upon  elementary  education,  especially  upon 
the  pianoforte.  And  this  more  especially,  upon  the  mode  of  study 
and  practice. 

In  all  elementary  musical  study  there  are  at  least  three  interests 
which  go  hand  in  hand,  aud  nnist  receive  equal  attention.  They  are: 
First,  the  technical  or  tlic  inechanical  ability  to  perform  the  necessary 


214:  HOW  TO   UNDERSTAND   MUSIC. 

motions;  second,  the  musical,  or  the  ability  to  think  of  the  melodies, 
chord  sequences,  time  relations,  etc.,  that  compose  the  piece;  and  third, 
the  feeling  of  these  as  expressive  of  something. 

The  technical  progress  depends  upon  the  practice  of  suitable  ex- 
ercises for  developing  tlie  muscles  of  the  hand  and  arm,  and  especially 
those  which  render  the  touch  flexible  and  expressive  (like  Mason's 
two-finger  exercises);  and  then  in  the  case  of  any  particular  piece,  the 
practice  of  it  in  sloxo  time^  very  7)%any  times  in  succession,  taking  the 
utmost  care  to  fully  perform  every  muscular  motion  in  its  right  order, 
and  with  occasional  trials  of  the  passage  at  the  proper  speed  in  order 
to  ascertain  how  nearly  complete  the  mastery  of  it  has  become.* 

The  musical  comprehension  of  a  work  and  a  true  feeling  of  its 
emotional  meaning  are  best  reached  by  committing  the  piece  to  mem- 
ory and  playing  it  without  notes.  In  this  way,  sooner  or  later,  it  becomes 
absorbed  into  the  musical  life  of  the  student,  and  not  only  is  felt  and 
enjoyed  at  its  own  value,  but  also  facilitates  the  comprehension  of  other 
pieces.  In  this  connection,  also,  it  may  serve  to  remind  the  reader  of  the 
great  value  of  opportunities  for  hearing  music,  such  as  are  by  far  too 
scarce  in  this  country,  and  even  where  available  too  much  neglected, 
especially  by  students. 

This  chapter  is  to  be  regarded  as  suggestive  rather  than  complete, 
and  as  indicatino;  a  line  of  thouofht  which  deserves  to  be  more  thor- 
oughly  explored. 

*See  Mason's  Pianoforte  Technics,  "  Tlie  Mind  in  Playing, "  for  further  discussion  of  this  point. 


IXDEX 


Antecedent,  30. 

Adieux,  the  Ab.  and  Ret.,  Beethoven,  op.  84;  5.). 

Architecture,  Oriental,  77. 

Architecture,  81. 

Aria,  and  Sccna,  128,  130. 

Astonishing  and  the  Sensational,  116. 

Art,  Design  of,  54. 

Conditions  of  its  Enjoyment,  61, 

Content  and  Korm  of,  61. 

Religion  and  Philosopliy,  74. 

and  Sense,  74. 

and  Religion,  75. 

Ancient,  76. 

Symbolical,  77 

Classical,  78, 

Romantic,  79. 

Romantic,  Conflict  in,  79. 

Romantic,  Keynote  of  79. 

Design  and  Scope  of,  59. 
Bach,  2  pt.  Inventions,  No.  i  :  11,  48,  94. 

Prelude,  Rm.  W.  T.  C.  Bk.  II.,  11. 

2  pt.  Inv.  in  I',  No.  8  :  12,  14,  44,  48, 146. 
Fugue  in  G  niin.,  W.  T.  C  I.  ;  14,  i6,  48. 
Inventions  i,  4and  8:    i6. 

Gavotte  in  D  (Wm.  lMason\  17,  146. 
Gavotte  in  I )  min.,  17,  29,  33. 

3  pt.  Inv,  ill  IC  mill..  No.  7  :  5,  25,  146  ;  44. 
X'ugue  in  C.min.,  No.  2,  W.  T.  C,  48,  146. 
Illustrations  of,  146. 

Italian  Concerto,  106. 

Passacaglia,  in  C  niin.  for  Organ,  106. 

Organ  prelude  in  A  niin.,  115. 

Loure  in  Ij,  146 

Song,  My  Heart  Ever  Faithful,  146,  130. 
Ballad,  The  Simple,  125. 
Bellini,  Operatic  Illustrations,  130. 
Battle  of  Prague,  Kotzuara.  54. 
Beautiful,  Perceived  by  Contemplation,  62. 

Nature  of,  63. 

in  Spiritual  Perception,  68. 

in  Reflection,  69. 

in  Classic  Music,  loi. 

Perception  of  one  of  the  Highest  Faculties,  74. 
Beauty,  p'ormal,67. 

Psychological  Rank  of  Perception  of,  74. 
Beethoven,  168. 

Op.  2,  No.   1 :   10,  II,  13,  14,  22,  24,  28,  30,  33, 

^     36,  39i  48,  96,  100. 

Op.  2,  No.  2:  33,  44,96. 

Op.  2,  No.  3:  15,  33,  36,  94. 

Op.  7  :  7,11,25,94,98. 

Op.  10,  Son.  in  C  min.,39,  41. 

Op.  lO,  Son.  ill  D,  94. 

Op.  13;  II,  12,  13,  14,22,24,  28,  30,  44,  98,  100. 

Op.  14,  No.  2  :  20,30,  94,  98. 

Op.  20,  Septette,  100. 

Op.  22,  Son.  in  B/',  36,  39. 

Op.  26,  Son.  in  Ad,  20,  36. 

Op.  27,  No.  2  :  106 

Op.  28,  Son.  pastorale,  41,  54,  94.     • 

Op.  30,  Son.  ill  G  for  P.  P\  and  Violin,  96. 

Op.  31,  No.  I,  in  G,  39,  41,  96. 

Op.  31,  No.  2  :  in  D.  minor,  10,  11. 

Op.  31,  No.  3:  in  \id.  15,  96,  106. 

Op.  51,  Two  Rondos,  36,  98. 

Op.  57,  Son.  app.  20,  39,  44,  48,  96. 

Op.  81,  Sonata,  54. 

Op.  go.  Sonata,  13,  14. 

Op.  129,  Rondo  Capriccioso,  98. 

Vari.  oiiGretry's  "  Une  Fifcbre  lirfilante,"  20. 

Symphonies.  2(1,  5th  and  7th,  100. 

Sonatas  for  Piano  and  Violin,  100. 

List  of  Illustrations,  179. 
Chopin,  List  of  Illustrations,  186. 

Life,  etc.,  183. 

Op.  9.  Nocturne  in  E(5, 44 

Op.  II,  Concerto  in  E  min.,  48,  57,  119. 

Op.  16,  Rondo  in  E.^,  116. 


215 


Chopin,  Op.  iS,  V.ilse  in  E/5,  52. 

Op.  22,  Polonaise  in  ULt,  no. 

Op.  26,  Polonaise  in  C  sharp,  m.  no. 

Op.  29,  Impromptu  in  \/>,  29,  33. 

Op.  31,  Scherzo  111  Vii>  min.,  31,  33,  116. 
Op.  34,  No.  2  :  V.dsc  iu  A^,  1 16. 

Op.  35,  Sonata,  1 15. 

Op.  40,  Polonaise  in  A,  22,  25,  33,  44,  no. 

Op.  42,  Valse  in  A^,  52. 

Op-  53i  Polonaise  in  A/',  no. 

Op.  64,  Valse  in  D^,  33, 

Polonaises,  107. 
Cadenza  from  Liszt's  Rigoletto,  57. 
Cadenza,  49. 
Cadence,  13. 
Carnival  of  Venice,  22. 
Cascade,  Pauer,  25. 
Classic,  The  Playful  in,  93. 

I'he  Tender  and  Soulful  in,  94. 

The  Rondo,  97. 

Music,  the  Beautiful  in,  101. 

Music,  Tran>itioii  from  Romantic  to,  loi. 
Coda,  33. 
Counterpoint,  16. 
Consequent,  30. 
Content,  42. 

Contemplation.  The  Satisfactory  in,  65, 
Chivalrous,  The,  107. 
Claribel,  Songs,  126. 
Descriptive  Music,  52. 
Elaboration,  37. 
Emotional,  45. 
Fugue,  15. 
Form,  26. 
Forms,  Open  and  Closed,  28. 

Unitary,  29, 

Irregular  Period,  30. 

Binary,  32. 

Ternary,  34. 
Field,  Nocturne  in  B/-,  44,  112. 
P'aust  Waltz,  Liszt,  52. 
Fanciful,  The,  and  Pleasing,  115. 
Gentle,  The,  and  Sentimental,  111 
Greek  Ideal,  The,  78. 
Handel,  Chaconne  and  Var,  48. 

Capriccio  in  G  minor,  48. 

Messiah,  Selections,  128,  130,  147. 

O  Had  I  Jubal's  Lyre,  130. 
Harmony,  67. 
Haydn's  5th  Symphony,  96. 

Creation  Selections,  128,  130. 

Illustrations,  i6i. 
Hobby  Horse,  Schumann  op.  68  :  54. 
Humoristic,  The, and  the  Passionate  113. 
Imitation,  14. 
Intellectual,  45. 
Idealized,  The,  51. 
Ideal,  The,  54,  58. 

Phases  of,  55. 

Greek,  The,  78. 

in  different  Arts,  81. 

and  its  Phases,  55. 
Infinity,  73. 

Influence  of  Poetry  upon  Music,  120. 
Liszt  s  Rigolctio,  Cadenza,  51,  119. 

Polonaise  Heroique  in  E,  no.  , 

Concerto  in  E/',  119. 

TannhSuser  March,  119. 

Life,  etc.,  194. 

Illustrations,  199. 

antt  Tlialberg  compared,  1^7. 
Lyric,  10,  12. 
Mills'  ist  Tarantellc,  116. 
Motive,  10. 
Mendelssohn,  Sw.  W.,  No.  1  .  11,  29. 

Chorale  from  St.  Paul,  Sleepers  wake,  17. 

Hunting  Song,  29. 

Rondo  Capriccioso,  op,  14,  98. 


216 


INDEX. 


Mendelssohn,  Life,  etc.,  180. 

List  of  Illustrations,  183. 

Aria  from  St.  Paul,  134. 
Measure,  21. 
Merz,  K,  Leonore  Polka,  22, 

Pearl  of  the  Sea,  52. 
Motivization   24. 

Mason,  Wm..  Dance  Rustique,  28. 
Mozart,  Son.'in  F.  (No   6  Peters'  Ed.),  41. 

Andante  for  Quintette,  96. 

Larghetto  in  I  ',  from  Clarinet  Concerto,  96. 

Andante  from  5th  Quintette,  106. 

Life,  etc.,  162. 

Operas,  165. 

lUiislrations.  167. 

Operatic  Selections,  130. 
Moderation,  68. 
Messiah,  The,  154. 
Music  as  Related  to  otherArts,  86. 

Limitations  of,  89. 

Classic,  the  Beautiful  in,  loi. 

Influence  of  Poetry  upon,  120. 
Opera,  The,  135. 
Oratorio,  The,  135. 
Oriental  Architecture,  77. 
Painting  and  Sculpture  Compared,  85. 
Painting,  83, 
Passage,  41. 

Passionate,  The  Humoristic  and  the,  113. 
Pauer,  Cascade,  25. 
Period,  9. 
Period-group,  32. 
Phrase,  10. 

Philosophy,  Art,  Religion  and,  74. 
Playful,  The.  in  the  Classic,  93. 
Pleasing,  The  Fanciful  and  the,  115. 

in  Sensation,  64. 
Principal,  32. 

Psychological  rank  of  the  Perception  of  Beauty,  74. 
Psychological  Relations  of  Music,  211. 
Programmes,  How  to  Plan,  20S. 
Poetic  Music,  52. 
Poetry,  88. 

Content  of.  91. 

Kinds  of,  92. 
Proportion,  67. 

Poetry,  Influence  upon  Music,  120. 
Pulsation,  21. 
Purity,  64 
Raff,  Op.  94,  Valse  Impromptu  in  Bi,  116. 

Polka  de  la  Reine,  119. 
Religion  and  Art,  75. 

Art  and  Philosophy,  74. 
Regularity,  67. 
Repose,  71. 

The  Touchstone  for  False  Art,  73. 
Recitative,  126. 
Rhythm,  21,  23. 
Rhythmic  Motion,  23. 
Rigoletto,  Liszt,  Cadenza,  51,  iig. 
Romantic  Illustrations,  194. 

Art,  79. 

Art,  Conflict  in,  79. 

Art,  Keynote  of.  79. 

Art,  Transition  from,  to  Classical,  loi. 

The  Chivalrous,  107. 

The  Gentle  and  Sentimental,  iir. 

The,  Humoristic  and  Passionate,  113. 

The  Fanciful  and  Pleasing,  115. 
Rondo,  34. 
Root,  Geo.  F.,  The  Brooklet,  126. 

Hazel  Dell,  126. 

Vacant  Chair,  126. 
Rubinstein's  Valse  Caprice  in  E^,  116 
Ruskin  on  Beauty,  63. 

on  Infinity,  73. 

on  Moderation,  68. 

on  Purity,  64. 

(in  Repose,  71. 

on  Symmetry,  65. 


Ruskin  on  Unity,  69. 
Schumann,  Life,  etc.,  186. 

List  of  Illustrations,  193,  194. 

Contrasted  with  Beethoven  and  Bach,  192. 

Op.  2,  Polonaise  in  D,  no. 

Op.  12,  Aufschwung,  31,  115. 

Op.  15,  Scenes  of  Childhood,  54,  115. 

Op.  ID,  Kreisleriana,  No.  2,  36. 

Op.  21,  Novelette  in  E.  No.  7;  11,  29. 

Op.  24,  No.  I,  in  C,  22. 

Op.  24,  No   4,  in  F,  22. 

Op.  28,  Romance  in  F  sharp,  44. 

Op.  68,  Spring  Song,  15. 

Op.  68,  Hobby  Horse,  54. 

Op.  99,  Novelette  in  B  minor,  11. 

Traumerei,  29. 

Songs,   134. 
Schubert,  Dances,   11,  28. 

Menuetto  in  B  min.,  Op.  78  :    10,  11,  13,  14,  22, 

33.  44- 

Waltz,  No,  I,  22. 

Sonata  in  C,  31. 

Op.  90,  I.,  Impromptu  in  C  min.,  48. 

Op.  90,  II.,  Impromptu  in  ILi.  48. 

Op.  142,  Impromptu  in  Bi>,  106. 

Songs.  134. 
Sentimental,  i'he  Gentle  and,  in. 
Second,  32. 
Sequence,  48. 
Sensuous,  T'he,  51. 

Scenes  from  Childhood,  Op.  15,  Schumann,  54. 
Sensation,  The  Pleasing  in,  64. 
Satisfactory  in  Contemplation,  The,  65. 
Sense,  Art  and,  74. 
Sculpture,  82. 
Sonata,  piece,  36. 
Song-group,  37. 
Sonata,  40. 

Plan  of,  40. 

Unity  in,  41. 

The  Cycle  of,  98. 
Sculpture  and  Painting  Compared,  85. 
Soulful  and  Tender  in  the  Classic,  94. 
Sensational  and  Astonishing,  116. 
Scena  and  Aria,  12S. 

and  Aria,  Illustrations  of,  130. 
Scarlatti,  D.,  148. 
Strauss,  Blue  Danube.  52. 
Storm,  The.  H.  Weber,  54. 
Song,  The  Thoroughly  Composed  134. 

Illustrations  of 
Suggestive  Music,  52. 
Symmetry,  66. 
Symbolical  Art,  77. 
Thematic,  10,  12. 
Third,  34. 

Titania,  Lefebre-Wely,  48. 
Time,  67. 

Tender  and  Soulful,  The,  in  the  Classic,  94. 
Transition  from  Romantic  to  Classical,  10'. 
Thomas,  A.,  Mignon,  128. 
Unity  in  Variety,  67. 
Unity.  69. 

ofSeparate  and  Distinct  Things,  70- 

of  Origin,  71. 

of  Membership.  71. 
Voice,  14. 
Variations,  18. 

Defined,  20. 

Formal,  20. 

Character,  20. 
Variety,  Unity  in,  67. 
Weber,  "  Der  Freischiitz,"'  Waltz,  22. 

Polocca  Brillante,  Op.  72,  no. 

Ocean,  Thou  Mighty  Monster,  i^t 
Wieck,  Clara,  189. 
Wagner,  R.,  200. 

Aria  from  Lohengrin,   134. 

lUuslrations,  208. 
Zachan,  148. 


PRONOUNCING  DICTIOXARY 


Condensed  Encyclopedia 


OF 


MUSICAL   TERMS,  INSTRUMENTS,  COMPOSERS, 
AND  IMPORTANT  WORKS. 


JDegigneti  to  Eccompani?  ''liub)  to  iLlnTJcrstanti  /Busi'r." 


BY 

W.   S.    B.    MATHEWS. 


COPVRIGHT,     1880. 


CHICAGO  : 
DONNELLEY,  GASSETTE   &   LOYD,   PRINTERS. 

1880. 


PEEFAOE. 


Every  musical  student,  teacher,  amateur,  and  newspaper  critic  lias  frequently 
experienced  tlie  need  of  a  handy  little  book  of  reference,  in  which  he  mijjht  be 
reasonably  sure  ot  finding  the  pronunciation  and  definition  of  terms,  description 
of  instruments,  tlie  names,  composers  and  dales  (Jf  important  works  (such  as 
oratorios,  operas,  cantatas,  symphonies,  etc.),  and  the  names,  nationality  dates, 
and  general  characteristics  of  all  the  principal  composers.  The  present  work  is  of- 
fered for  general  use  as  stich  a  dictionary,  and  a  sort  of  condensed  encyclopedia  of 
mtisic. 

Its  difference  from  other  musical  dietionarics  may  be  inferred  from  the  fol- 
lowing memorandum  of  its  mode  of  preparation,  and  its  contents.  Taking  Men- 
del's MusUmUscIics  Conversations-Lexicon  (11  vols.  Svo.  Berlin  1870 — 188C.)  a  list  of 
titles  was  made  under  each  initial.  That  work  is-sufficiently  rich  in  the  explana- 
tion of  terms,  and  especially  so  in  larger  articles,  such  as  "Assyrian  Music," 
"  Hebrew  Music,"  "  Harmony,"  as  well  as  German  biograpliy.  To  the  list  of  titles 
thus  made,  were  then  added  the  most  desirable  ones  from  Gi-ove's  "Dictionary  of 
Music  and  ^Musicians"  (London  1879 — 1881,  2  vols.  Svo).  To  this  source  are  we 
indebted  for  the  names  of  operas,  etc.,  descriptions  of  instruments,  and  the  En- 
glish biographical  matter.  Next,  Stainer  and  Barrett's  "  Dictionary  of  Musical 
Terms  "  (Svo.  pp.  45G,  Ditson  &  Co.  1870)  was  gone  tlirough,  as  well  as  Mr.  Lud- 
den's  excellent  and  remarkably  complete  "  Pronouncing  Dictionary  of  Musical 
Terms  "  (J.  L.  Peters  &  Co.  N.Y.)  The  additions  from  tliese  la,tter  sources  were 
considerable.  Even  this  did  not  suffice  to  complete  the  list.  ISTames  were  over- 
looked, and  some  whicli  were  obviously  desirable,  were  not  to  be  found  in  any  of 
these  works.  These  omissions  were  supplied  in  a  measure  tlirough  the  promptings 
of  Mr.  G.  Schirmer's  very  complete  "  Catalogue  of  Music,"  and  by  personal  corre- 
spondence. In  the  nature  of  the  case,  the  satisfactory  selection  of  titles  for  inclu- 
sion in  a  handy  book  like  this,  is  a  matter  of  difficulty,  if  not  impossibility.  Tlie 
explanations  given  above  will  perhaps  serve  to  condone  the  shortcomings  yet  re- 
maining. 

The  definitions  and  characterizations  of  musicians  have  been  freely  taken 
irom  the  sources  indicated  above,  where,  in  turn,  they  had  been  just  as  decidedly 
acquired  from  previous  -writers.  So  also  with  the  pronunciations  of  terms  from  for- 
eign languages ;  when  practicable  they  are  here  taken  from  Ludden  or  from  Zell's 
encyclopedia.  While  they  may  not  give  an  accurate  idea  of  the  true  pronunci- 
ation of  the  terms,  according  to  vernacular  usage,  they  at  least  may  lay  claim  to 
the  merit  of  making  as  fair  an  approximation  thereto  as  the  type  and  popular 
character  of  this  book  permitted.  To  the  whole  is  added  an  explanatory  Synop 
sis  of  ]Musica]  Notation  and  a  list  of  the  principal  ]\Ielodic  Embelishments,  with 
the  proper  manner  of  performing  them,  carefully  prepared  from  the  best 
authorities.  Titles  improperly  omitted  from  this  will  be  added  to  subsequent 
editions  in  an  appendix. 

W.  S.  B.  Matheavs. 


BTCTTOXAP.Y. 


A,  or  Ab,  (Ital.   prep.)  from,  of;  also  name  of  a 
pitch. 

Abbreviatioiliii.      These  are  the  more  usual 
Look  for  lietiiutions  under   the  words  them- 
selves. 

A(re/.,  for  accelerando  ;  Accomf>.,  Accom- 
pagnement  ;    Adgo.    or    Ado.,    Ad-igio  ■   a.l 
iib.,7iA    libitum;    rt//' c/.,  all' ottava  •  .J//,; 
Allegro;  Allgito.,  Allegretto;  Amhw.,  An- 
dantino  ;  Amite.,  Andante;  arc,  coll'  arco  • 
^rpw       Arpeggio;    d.t.,  i    tempo;   Basso.\ 
Contrabasso;    C.    B.,   Contrabasso;  c.  Zva' 
coir   ottava;    C.    D.,    colla    destia-    C    L 
col  legno  ;  C.  S.,  colla  sinistra -CVj^/.,  Caden- 
za;  crt/.,  calando;    c.  i5.,col   Basso-    C/ttr 
Clannetto;     C/aro.,      Chirino;    O;.,    Corno'- 
^^-^•jc.,  crescendo  ;   />.,  destra,  droite  ;  /).  c] 
da  Capo  ;  D.  S. ,  dal  Segno  ;  (/cent.,  decrescen- 
do;    ih'm.,   diminuendo;    efiv.,   divisi  ;  (/o/. 
dolce;    es/r.,    esprcssivo;   _/.,   forte;    /^ar., 
Kigotto;  yf.,    fortissimo;    jV.,    Flauto;   /=>., 
forte  piano;  yb.,   lorlzando;  (7.,  gauche  •  Z 
laeva;  A-^.,   legato;   /o..  hto.,  loco  or  luogo  ■ 
lusznj^.,     lusingando;       7>ia>!c.,      mancando; 
7Hnrc.,  marcato  ;   711.  d.,  mano  de-tra  ;  m.  d., 
main  droite  ;  vtez. ,  mezzo;  tn/.  or  m/p..  meno 
forte,  mezzo  forte   piano;  -iiiodto..  iiioderato  • 
m.y.  (vzzv.),  mezzj  voce  ;  Oi^.,  Oboe(Haut- 
bois)  ;    J*.,  piano;    ped.,   pedale  ;   perd.,-per- 
dendosi ;  P.  p..  Piano- Forte  ;  //.,  pin  forte  ; 
pizz.,  pizzicato  ;//.,  pianissimo  or  piii  piano  ; 
rail.,    rallentando;     rf.     r/z.,    rinforzando; 
rtt.,  ritardando;    ritcn.,    ritenuto  ;    S.  sin.^ 
sinistra;    scherz.,    scherzando ;    seg.,   segue; 
J<?/«.,  scmpre;  s/z.,   sforzando  ;  sim.,  simile;' 
stnorz.,  smorzando  ;    i-oii".,  sostenuto  ;   s.  S.. 
senza   Sordini;   s.    T.,  senza  Tempo  ;'.r/'af<-.," 
staccato  ;  string-.,  stringcndo;    7'.,  tasto.  ten- 
ore  ;    7".,  tutti,    tempo;    /^«..  tenuto  ;   Tiiiip., 
Timpani;    /;•..     trillo;     tretii.,    tremolando ; 
Tromb.,     trombone  ;      Tro/iip.,    Trompette  ; 
T.  S.,  tasto   solo;   u.  c,  una  cord  a ;  itn/s.' 
unisono  ;   /'..  Voce  ;  I'a.,  Viola  ;  r.i>-.,  varia- 
zione;     I'o.,     Violino ;      Fcilo.,    Violoncello- 
K  S.,  Volti  subito. 

Abbaildoiio.  oon  dial,  a-briii-du'-nr.)  or 
.\bl>aniloiiat«'lll(>iite.     With  abandon, 

with  eiithusia.-im. 

Aboild  Mll!>iik   (Ger.)     Evening  music. 

Abert,  J.  J.  (ii-bert),  a  German  orchestral 
and  operatic  composer,  born  at  Kachowitz,  in 
Bohemia,  1832.  liest  known  by  his  orchestral 
transcriptions  of  Bach's  organ  fugues. 

Ab  Initio  (I.at.  in-ish'-io).  From  the  begin- 
ning. 

Abt.  Franz,  the  popular  German  song-writer 
("When  the  Swallows,"  etc.)  b.  Dec.  22, 
1819,  at  Eilenburg,  Prussia.  Visited  .Americ.i 
in  1872,  and  conducted  at  the  Gilmore  Jubilee. 

A  capella  (Ital.  ka-pel'-lii).  In  church  style  ; 
i.  f.,  voices  only,  without  accompaniment. 


A  .-apHooio  (Ital.  cii-prlt'-zir.).     At  caprice: 

at  ]ikasnre. 

A<M-«>l«>raiMlo(Ital.  at-tsl.nl-a-rrin'-dr.i.  Ac- 
celerating ;  gradually  hastening  the  time. 

AcfOnt.  an  emph.-isis  or  stress  upon  particular 
notes  or  chords  for  the  purpose  of  rendering 
the  me.iningof  a  passage  in-elligible.  The 
principal  .iccents  in  music  are(iuhe  t/tf^s- 
nre,  occurring  on  the  first  beat  of  every 
measure  ;  (a)  the  oratorical  or  dvclawatory 
on  the  emphatic  note  of  a  phrise,  or  most 
important  word  in  a  phrase ;  (3)  secondary 
rliytliJiiic  accent  on  the  first  tone  in  smaller 
groups  than  those  of  a  full  measure,  as  .-.  ^. 
on  the  first  note  of  triplets,  etc. 

Aroidciital.  unforseen,  a  name  given  to  sharps. 
Hats,  or  naturals  in  music  outside  of  the  sie- 
natiirc.  •" 

Ac-Ct'lltliatO  (Ital.  at-tshun-too-3'-t0).  Ac- 
cented. 

A('(M>|||]iai;iiaill<>lltO  (Ital.  ak-krn.'-pan- 
ya-niiin'-tii'.  Acron  fanimeiit  ;  parts  of  iinisic 
sounding  with   and    supporting   the   leading 

idea. 

AtM'Oi'd,  to  sound  well  together.  (.See  conso- 
nance.)   A  chord. 

AcoilNtios  (a-coos'-tics).  The  science  of  .sound. 

Aocoi'dioil.  a  well  known  instrument,  the 
tones  of  which  are  produced  by  "  free  reed-." 
Large  instruments  of  this  class  have  a  com- 
pass of  about  four  octaves. 

Aoiw  and  l.alatj'a (ri'-«is, gill-fi-te'-u).    A 

pastoral  cant.iia  by  Hamlel  in  1720. 
Adas:io  (Ital.    a-da'-jo,    literally   ad  agio,  at 
ease,  leisurely  1.     A    slow  and   tender  move- 
ment, slower  thap  andatite,  but  not  so  slow 
asliirg.i.     See  "  IVinpo." 

Adajfissimo  (Ital.  S-dii  jes'-sI-mO).  Super- 
lative degree  of  adagio. 

Adam.  Adolph  Charles,  a  French  composer  of 
light  operas  (Le  Postillion  du  Lonjumeau, 
etc.),  newspaper  critic  and  professor  of  com - 
position  at  the  Conservatoire ;  b.  1S05.  d. 
1856.  ■" 

.'IdaniN.  Thomas,  a  distinguished  English 
organist  and  composer,  born   17S5,  died   1858. 

Ad  liib  itum  (Lat.)  At  pleasure  ;  /.  ,-.,  slow 
or  last. 

Alller.  Vincent,  a  young  composer  living  in 
Paris,  belonging  to  the  school  ,.f  Stephen 
Heller.     Autlior   of  many  interesting  piano 

pieces. 

.\  dii«'(Fr.)  For  two.  (Used  in  orchestral  scores.) 
.V  dlir  ((^.er.  a-dur).     The  key  of  A  major. 
A  moll  (I  .er.)     .\  minor  [key  of). 
-Kolian   Koy.  one  of  the  "church    modes," 

having    the    tones  .-V  B  C  D  E   F  G  A  ;  the 

natural  minor  scale. 


a  aU,  a  add,  a  arm,  e  cvf,  e  end,  I  ice,  I  ///,  o  old,  6  odd,  0  doz't,  00  moon,  u  lute,  u  but,  U  Fr.  sound 

3 


JEO 


DICTIONAEY. 


ANS 


.^]Oliau  Harp,  a  harp  played  by  the  wind. 
Should  be  of  thin  pine,  3  ft.  long,  3  in.  deep, 
5  broad,  with  beech  ends  for  insertion  of  pitch 
and  tuning  pins.  Is  strung  with  12  catgut 
strings  passing  over  low,  hard-wood  bridges, 
and  tuned  in  perfect  unison.  Placed  in  a 
window  open  enough  to  receive  it,  and  some- 
what obliquely  to  the  wind,  it  produces  the 
most  delightful  chords. 

.iEst'liylus  (Ger.  es'-ke-lus),  a  Greek  (Attic) 
philosopher,  born  B.  C  525. 

Affetuoso  (Ital.  af-fet'-oo-6'-zi'",  or  Con 
affOttO.  with  feeling. 

Ag'ilita  (Ital.  tUjH'-i-ta).     Agility,  quickness. 

Agitato  (Ital.  iij-i-ta'-toi,  or  foil  Agita- 
tions, agitated,  disturbed  ;  cummcnly  im- 
plies hurrying. 

AgiiHS  I>ei  CLat.  ag-nus  da-ee\  Lamb  of 
God  ;  part  tf  the  service  of  mass. 

Ail*,  a  melody  or  tune.     See  Aria. 

Al,  All,  Alia  (Ital.)     To  the  ;  in  the  style  of. 

Albert!,  H.  (al-bar'-tee).  At  once  poet,  organ- 
ist and  composer.  Born  at  Lobenstein  1604. 
Died  1657. 

Albaili  (al-ba'-nee).  The  stage  name  of  a 
favorite  soprano.     See  Lajeunnesse. 

Alboni,  Marietta  (al-bo'-nee).  The  most  cele- 
brated contralto  of  the  19th  century.  Born 
Censensa,  Italy,  1824.  Sang  with  the  greatest 
^clat  throughout  Europe.  Visited  America 
in  1852.  Her  voice  was  large,  r^ch  and  true, 
and  her  method  delightful.     Lives  in  Paris. 

Aloeste  (Fr.  al-s6st')..  Tragic  opera  in  three 
acts  by  Calzabigi  and  Gliick,  1761. 

Albreelitsberger  (al'  -  bretchts  -  bar'  -  ger), 

Johann  Geo.  Contrapuntist  and  teacher  of 
sacred  music,  composer  and  organist,  born 
1736,  at  Klosterburg,  near  Vienna.  Died 
Vienna  March  7,  1809.  Among  his  pupils 
were  Beethoven,  Hummel,  Weigl,  Seyfried, 
etc. 

Alexantler's  Feast,  an  "ode"  of  Handel's  to 
Dryden's  words,  1736  Re-scored  by  Mozart, 
1790. 

AJkail,  Charles  V.  Born  at  Paris,  1813.  Pian- 
ist and  composer,  chiefly  of  Etudes  and 
caprices  for  piano.  His  studies  are  extremely 
difficult,  and  are  important.  Has  published 
op.  72. 

Alia  Breve,  indicated  2-2,  a  form  of  com- 
mon time,  taken  somewhat  faster  and  beat 
with  two  beats  in  a  measure. 

Allegro  (Ital.  al-lii'-grO J,  literally  "cheerful." 
A  tempo  mark,  indicating  a  quick  movement. 
See  Tempo. 

Allegretto  (Ital.  lil'-Ie-gret'-to).  Diminutive 
of  allegro  ;  cheerful  ;  not  so  quick  as  allegro. 
See  Tempo. 

Allegrezaia  (Ital.  al-le-gret'-za).  Gayety  ; 
cheerfulness. 

Allegri  (al-lag'-ree),  Gregorio,  a  priest  at 
Fermo,  1580-1652.  Author  of  a  celebrated 
"  jSIiserere  "  used  at  the  Pontifical  chapel 
during  Holy  week. 

Alleiliande  (Fr.)  One  of  the  movements  of 
the  suite.  It  is  of  German  origin,  and  was  not 
a  dance. 

2.  Also   used   as  equivalent  to   Deutscher 
Tanz,  a  dance  resembling  the  waltz. 


3.  A  German  natioilal  dance  of  a  lively 
character,  in  2-4  time. 

Al  Segno  (Ital.  san'-yo;.  From  the  sirn  ;  re- 
turn to  the  sign  ,  and  play  from  there  to 

"  Fine." 

All  L'uisono  (Ital.  oo-m-so'-no).     In  unison. 

Alto  (Ital.)  literally,  "  high."  The  highest  male 
voice,  having  a  range  above  the  tenor.  The 
low  female  voice  now  commonly  called  by  this 
name  is  properly  contralto^  which  see. 

Alto  Clef,  see  Clef. 

Amabile  (ItaL  ii-mii'-be-le).  Lovingly  ;  ten- 
derly. 

Aniati  (am-a'-tee).  A  celebrated  family  of 
violin  makers,  who  lived  and  worked  at  Cre- 
mona. Their  best  work  was  :  Anckea,  about 
1550;  NicoLO  made  basses;  Antonio  and 
Geronimo,  sons  of  Andrea,  1550-1635.". 
NicoLO,  1596-1684,  the  most  eminent  of  all 
the  family  ;  Geronimo,  his  son,  an  indifferent 
maker. 

Anibros,  August  \V.  (am'-broz).  Born  1816, 
in  Bohemia.  A  brilliant  writer  on  musical 
topics,  and  author  of  a  fine  Musical  History, 
four  volumes  of  which  have  appeared.  Died 
June  28,  1876. 

Anibrosian  Chant,  the  ecclesiastical  mode 
of  saying  and  singing  Divine  service,  set  in 
order  by  St.  Ambrose  for  Milan  cathedral, 
about  A.  D.  3S4. 

Ambrosian  H^inn.  the  Te  Deum. 

Amoroso  (Ital.  am-or-6'-z5).  Lovingly,  ten- 
derly, with  warmth. 

Anipllion.  one  of  the  oldest  Greek  musicians; 
flourished  about  1300  B.  C. 

Anapest,  see  "  foot." 

Andante  (Ital.  an-dan'-te,  from  andare^  to 
walk.)  Going,  moving  along  at  a  moderate 
pace.  See  "  i'empo  "  Also  used  as  the  name 
of  a  piece  of  music  in  andante  movement. 

Andantino  (Ital.  an-dan-tee  no.  diminutiveof 
the  preceding).  A  movement  somewhat 
quicker  than  andante.  Sometimes  used  to 
denote  a  slower  movement  than  andante. 
(Mendel.) 

Andre.  Johann  (an'-dra),  the  head  of  an  ex- 
tensive musical  family.  B.  1741,  d.  179Q. 
Author  of  many  works  of  almost  every  kind. 
JoH.\XN  A.,  his  son,  1775-1842,  also  a  prolific 
composer,  and  teacher  of  the  piano  and  vio- 
lin ;  Johann  B.,  his  son,  pupil  of  Aloys 
Schmitt,  a  resident  of  Berlin  ;  Julius, son  of 
J.  A.,  an  organist  and  writer  for  the  organ. 

Angeliea.  angelic.  Vox  Angeliea.  angelic 

voice,  the  name  of  an  organ  stop,  free  reed. 

Anlagnier.  Antonin,  a  French  composer  of 
popular  piano  pieces.  Born  i8ooat  Manosque, 
educated  in  the  Paris  Conservatoire,  and  later 
a  music  dealer  there. 

Aninia  (Ital.  an'-i-mii),  eon  aninia,  with 

life. 
AlliniatO  (Ital.  an-i-ma'-to).     Animated. 

Anna  Boleua  (bo-la'-na).  Opera  by  Doni- 
zetti.  1831. 

AnselinetZ,  Karl  (iin'-sheetz).  B.  about  1831. 
Died  in  New  York  about  1875.  An  opera  and 
orchestral  conductor  and  composer. 

Answer,  the  imitation  of  a  previous  phrase. 


alCt  a  add.,  ii  arm.,  e  eve.,  6  end.,  1  ice.,  i  ill.,  6  old,  6  odd.,  6  do-jc.,  00  moon,  11  lute.,  ii  but,  U  Fr.  sound 


ANT 


DUTIONAKV 


AVE 


Antec<'<leilt,  a  phrase  proposed  for  imitation. 

The  first  section  in  a  period. 

Alltli«'ill.  a  sacred  motet  for  use  in  Divine  ser- 

viie. 

Anticipation,  the  entrance  of  a  single  note 
of  a  chord  in  advance  of  the  remaining  notes, 
thus  making  a  dissonance  with  the  cliordinto 
which  it  thrusts  iiself. 

Antienne,  (Pr.)  An  anthem.  Also  used  as  the 
name  of  a  solt  and  quiet  organ  piece. 

Antipliony,  responsive  singing,  between  two 
choirs  or  the  priest,  and  choir. 

Antiplionai-iiini     Romanuni.     Roman 

Antiplioiiary,  the  Romish  collection  of  anti- 
phons. 

A  piaoei-e  (Ital.ii  pr-ii-tsha'-re)  At  pleasure, 

faster  or  slower. 

AppaKKionatO  (Ital.  ap-piis-se-o-na'-toK 
Impassioned  ;  jiassionateU-.  Beethoven's  son- 
ata op.  57  was  thus  named, by  Cranz,  the  pub- 
lisher. 

AppliraturCf.er.ap-plik'-a-tur).  Application, 
as /(?</(//  applicatitr  :  pedal  marks  for  apply- 
ing the  toe  and  heel. 

Appog;^iatui'a(Ital.  ap-pod  -jla-tiV-rii),  from 
ap/>oggia>-e  to  lean  uoon.  A  melodic  orna- 
ment consisting  of  a  dissonant  tone  occurring 
on  the  accent  and  resolving  into  the  true 
melodic  tone  one  degree  above  or  below.  The 
long  A.  occupies  haff  the  time  of  the  note  it 
leans  upon,  and  is  written  as  a  grace  note. 
The  short  A  .  is  player'  as  quickly  as  possible  ; 
written  as  a  grace  note  with  a  stroke  through 
the  stem.     .See  Appendi.\,  pp.  78  and  79. 

AppOffSfiatlsra  l>OHbIo.  a  melodic  orna- 
ment consisting  of  tw..  grace  notes  before  a 
melody  note.  Played  rapidly,  and  in  time 
taken  from  the  principal  note. 

Aptoniinas,  two  Welsh  brothers,  harpists.    B. 

1S26  and  1829. 

Aroailt'lt.  Jacob,  a  singer,  teacher  and  com- 
poser, at  Rome  about  1539.  Born  in  the 
Netlierlands.  Author  of  madrigals,  masses, 
etc. 

Areo  (Ital.  Ur'-ko).^  The  bo'w  of  stringed  in- 
struments. c:oll*  ai'co.  or  aroato.  with 
the  bow,  as  opposed  to  pizzicato,  which  see. 

Arditi.  Luigi  (loo-ee'gee  ar-dee'-tee).  Born 
at  Crescentino  in  Piedmont,  1822.  Author  of 
several  operas,  overtures,  songs,  etc.  Conduc- 
tor of  Italian  opera  in  London,  Vienna,  etc. 
Visited  America  several  times. 

ArdltO  (Ital.  ar-dee'-l6).     Warmth;  ardor. 

Aria  (Ital.  ilr'-Ia).   Air.    See  Lessons  x.vx,  x.xxv. 

Ariotta  (Ital.  iir-I-ft'-tii).  A  little  air.  Lesson 

xiv. 

Arioso  (Ital.  iir-I-u'-zo).  In  style  of  an  aria. 
Lesson  xxvii. 

AriOIl,  a  Greek  musician,  fabled  to  be  the  sou 
of  Neptune  and  Oncea,  Lived  about  620  B.  C. 

Arinid<'  (ar-meed').  One  of  Chick's  greatest 
operas.     Produced  in  Paris  .Sept.  23, 1777. 

Arne,  Thomas  A.,  Mus.  Doc.  An  English 
composer  of  glees,  anthems,  and  the  music  of 
several    operas    or    stage    pieces,    music    to 


Shakespeare's     "  Tempest,"    two     oratorios 
"  Judith  "  and  "  Abell,'   CiC.     1710-1778. 

Ariie.  Michael,  son  of  preceding,  1741-1S06.  A 
conductor  and  popular  composer  of  operas, 
etc.,  in  his  day. 

Arpegjjio  (Ital.  ar-pt'd-jn).  A  melodic  figure 
composed  of  the  tones  of  a  chord  struck  suc- 
cessively.    A  broken  chord. 

Al'nold,  Samuel,  Mus.  Doc,  born  in  I^ndon, 
1740.  Died  1832.  An  organist,  conductor 
and  author.    Composed  many  dram.itic  works. 

Art  of  Fus:iie,  The  {Die  Kittist  tier  Puge),  a 
wonderful  work  of  Sebastian  Bach's,  contain- 
ing eighteen  fugues,  all  on  one  subject.  Com- 
posed in  the  last  year  of  his  life. 

Asclier,  Joseph,  born  in  London,  in  1831.  Died 
1869.  A  fashionable  pianist  and  composer  of 
drawing-room  pieces. 

AH(Ger.)     Aflat.     (A/1.) 

Asmai  (Ital.  Us-sii').  Very,  e.  g.,  Allejjro 
assai,  very  fast,  etc. 

ANSOllltO  (Ital.  as-so-lfi'-to).  Absolute. 
I'riiiia  donna  asNolulo,  absolute,  or 

first,  |irinia  douna. 

Atliaiisi(ath-ai-i  -ii).  The  third  of  Handel's 
oratorios.      1733. 

Atliali*'  (Ger.  Ut  -tal-y).  Overture,  march  and 
si.x  vocal  pieces  (op.  74)  to  Racine's  drama, 
composed  by  Mendelssohn,  1S43. 

A  tempo  (Ital.  a  tern  -po).     In  time. 

Attwooti.  Thomas,  English  composer  of  dram- 
atic ami  cathedral  music ;  conductor  and 
organist  ;  ;i  favorite  pupil  of  Mozart,  and  one 
of  the  fir-t  English  musici-uis  to  recognize  the 
genius  of  Mendelssohn.  1767-1838.  Buried 
in  St.  Paul's  Cathedral,  under  the  organ. 

Atta«M'a  (Ital.  iit-tak-kii).  Attack.  At«A«-oa 
Nllltito.  attack  the  following  immediately. 

AttO  (Ital.  iif-to).     Act. 

Allber,  Daniel-Franfois-Esprit,  born  1784  at 
Caen.  Died  1871.  Auber  was  the  most  popu- 
lar of  the  French  composers  of  this  ci-ntuiy. 
Auber  was  composer  of  a  large  number  of 
operas,  among  the  besl  of  which  are  "  Crown 
Diamonds,"  "' Kr.a  hiavolo,"  and  "LaMu- 
etie  de  Portici"  (Masaniollo).  His  works 
are  characterized  by  bright  and  si>arkling 
melody,  and  pleasant  and  piquant  instnimen- 
tation,  though  Wagner  says  he  uses  the 
orchestra  like  a  mighty  guitar  (implying 
Auber's  lack  of  thematic  treatment).  He 
was  made  Director  of  the  Conservatoire  by 
Louis  Phillippe,  and  remained  so  until  his 
death.     A.  was  genial  and  witty. 

Alldaoe   (latl.  S-oo-dii'-tshe>.   Same  as  ,if<///o. 

Anflosune    (Ger.    ouf-16-sung).     Resolution 

(of  dissonances). 
Allt'la«*t  iGcr.  ouf-takl).    The  unaccented  beat 

of  the  measure. 

An;;ni«'ntation.  the  extension  of  a  phr.tse  or 
subject  by  lengthening  the  time  of  all  its 
notes,  imitating  quarter  notes  by  halves,  etc. 

AnsdriM'k  (Ger.  ous  -druk>.     Expression. 

Av«'  .llariu  (Lat.  a  -v?  mUr-ee  -iiV  "Hail 
Mary."     The  angelic  salutation,  Luke  i,  28. 


ii  a/e,  a  ai/</,  a  rtrw,  ij  ezr,  e  cm/,  l  ice,  I  ///,  o  o/<i,  o  ot/ti,  6  <iove,  00  moon,  u  /ute,  ii  />«/,  U  /•>.  sounti 


AUT 


DICTIONARY. 


BAR 


Atltlientic  certain  of  the  ecclesiastical  modes. 
They  are : 


No. 


Mode. 


Comp.aii, 


Dorian 

Phrygian... 

Lydiin 

Mixolydein 

.'Eolian 

lonion,  or  I 
lastian t 


D  to  D 
E  to  E 
F  to  F 
G'to  G 
A   to  A 

C    to  C 


Kiii.ll. 


D 
E 
F 
G 
A 


Doiniimiit. 


A 
C 
C 

D 

E 


ira,    or   The    Magic  Rose, 
English    version   of  Spohr's 


Azor     and  Zeniira. 

in    three   acts.     English    version  of  Spohi 
Zejiiire  unci  Azor^  produced  at  Covent  Gar- 
den, April  5,  1831. 

B,  the  name  of  a  pitch.  In  Germany  the  name 
B  is  applied  to  the  tone  V>b^  and  B  is  called 
H. 

Bacll,  Johann  Sebastian  (biikhl,oneof  the  great- 
est masters  who  have  ever  appeared  in  music. 
B.  1685,  d.  1750.  Bach's  ancestry  for  a  cen- 
tury had  been  musicians,  and  several  of  them 
eminent.     See  chapter  on  Bach. 

Baoh.  Wilhelm  Friedmann,  called  also  the 
Halle  Bach,  oldest  and  most  talented  .son  of 
John,  born  at  Weimar  1710.  Was  noted  for 
his  originality  as  a  composer  and  improviser, 
but  owing  to  dissipated  habits  he  left  com- 
paratively few  works.     Died  at   Berlin,  1784. 

Bacll.  Karl  Philipp  Emanuel,  third  son  of  J.  S., 
born  at  Weimar  1714.  Studied  law,  but  as 
he  had  been  educated  in  music  from  child- 
hood, he  presently  betook  himself  to  it  as  his 
calling,  and  became  kammermusiker  and 
cembalist  at  the  court  of  Frederick  the  Great. 
As  composer,  director,  teacher  and  critic,  his 
influence  was  very  great.  He  beloiigs  to  the 
transition  period  from  his  father  to  Haydn. 
His  works  are  remarkable  for  refinement  and 
elegance  rather  than  power.     Died  1788. 

Baeh  Society,  in  London,  devoted  to  the 
study  and  promulgation  of  Bach's  works. 
1849-1870.  Its  library  is  now  in  the  Royal 
Academy  of  Music. 

Baoh  <);esoliell«ohaft,  a  German  society 
for  publishing  Bach's  works,  of  which  some 
thirty  volumes  are  now  issued.  The  idea 
originated  with  Schumann  and  Hauptmann. 

Baelie,  Francis  Edward  (bak),  born  at  Birming- 
ham, Sept.  14,  1833,  died  there  Aug.  24,  185S. 
A  talented  yonng  composer,  a  student  at 
Leipsic,  who  died  before  his  talent  was  fairly 
developed.  Author  of  several  piano  pieces, 
a  concerto,  etc. 

Bachelor  of  llllSic,  a  degree  conferred 
complimentarily  by  American  colleges.  At 
Oxford  and  Cambndge(Eng.)  a  candidate  for 
degree  must  pass  certain  written  and  vh'a 
voce  examinations  in  harmony,  counlerfoint 
principles  of  orchestration,  etc  ,  and  piesent 
a  good  vocal  composition  containing  pure 
five-part  harmony  and  good  fugal  counter- 
point, with  accompaniment  for  strings,  suffi- 
ciently long  to  occupy  from  23  to  40  minutes 
in  the  peiformance.      Fees  about  ^18. 

Badinage  (Fr.  bad -in-ag).     Playfulness. 

Badarzewski.  Thekla.born  at  Warsaw  1838. 
Died  1862.  Immortalized  by  her  composition, 
"•  I'rioe  de  la  Vierge"  "  Maiden's  Prayer." 

Baertanze.  (Ger.)  Dance  of  the  Bayardiers; 

female  dancers  in  the  East  Indies. 


Baj^atelle  (Fr.  bag-a-tel),  a  trifle.  A  name 
applied  to  short  compositions. 

Bagpipe,  a  famous  instrument  of  great  an- 
tiquity. It  consists  of  a  combination  of  fixed 
tones,  or  "  drones,"  which  sound  continuously 
when  the  instrument  is  played,  and  a 
"chanter."  The  drones  are  made  by  three 
pipes  with  reeds,  tuned  differently  in  different 
parts  of  the  country  ;  A  A  A,  G  D  A,  G  D 
G,  etc.  The  chanter  is  an  instrument  akin 
to  theoboe,  with  a  compass  of  only  nine  notes, 
not  tuned  accurately,  but  approximating  the 
scale  of  the  black  keys  of  the  piano.  The 
wind  is  furnished  by  a  windbag  or  sack, 
worked  by  the  left  arm. 

Baker.  B.  F.,  born  about  1820.  Author  of 
a  text-book  of  Harmony  and  several  bool«  of 
psalmody. 

Balfe.  Michael  William,  born  at  Dublin  1808, 
died  1870.  A  prolific  composer  of  songs  and 
operas,  the  best  of  them  being  "  The  Bohe- 
mian Girl,"  "  Siege  of  Rochelle,"  "  The  En- 
chantress," "  Talisman,"  and  "  Puritan's 
Daughter."  Balfe  was  a  fine  melodist  but  a 
careless  composer. 

Balatka.  Hans,  a  fine  German  musician, 
teacher  and  conductor,  in  Chicago.  Born 
about  1830. 

Ballad,  from  the  Itali.in  baiiata,  a  dance. 
Biillata^  a  dancing  piece  ;  Suonata,  abound- 
ing piece;  and  Cantata,  a  singing  piece. — 
Gro7'e.)  In  Italy  the  ballata  was  a  song  to 
be  sung  while  dancing.  A  poem  in  narrative 
form,  adapted  to  be  sung  to  some  ballad  tune. 

Ballade  (Fr.  bal-lad).  A  ballad.  Capriciously 
applied  by  Chopin  to  four  pieces  of  piano- 
forte music. 


bal-ler-ee  -na).     A   female 


Ballerina    (Ital. 

ballet-dancer. 

Ballet  (Fr.  bill-la  ).  A  suite  of  elaborate 
dances  for  performance  on  the  stage.  The 
term  B.  is  applied  eijually  to  the  music,  to 
the  dancers,  and  to  the  dances. 

Ballo  in  Maschera  (Ital.  bal-lo  in  mas  - 
ker-ii).  "  The  Masked  Ball,"  opera  by  Verdi, 
1839. 

Band,  a  company  of  instrumental  players.  See 
"String  band,"  "Brass  band,"  "Wind 
band,"  "  Military  band." 

Banjo,  an  American  instrument  of  the  guitar 
kind,  the  body  covered  with  parchment  like 
a  drum-head.  It  has  five  or  six  strings, 
tuned:  A,  E,  G  sharp,  B,  E,  or  G,  D,  G.B, 
D,  G,  the  lowest  string  being  in  the  octave 
below  middle  C.  Its  pitch  is  an  octave  lower 
than  its  notation. 

Bar.  a  line  across  the  staff"  to  mark  the  measures. 
In  England  often  applied  to  the  measure  itself. 

Barliaja,  Domenico  (bar-ba-ya),  an  Italian 
opera  manager,  who  introduced  most  of 
Auber's  and  Rossini's  operas  to  the  world  at 
.San  Carlo  theatre  in  Naples  and  La  Scala  in 
Milan.     1778-1841. 

Barher  of  Seville.  English  name  of  an 
opera  by  Rossini,  1816.  Also  opera  of  Paisello 
»77S. 

Barcai*oIe  (Ital. 

A  piece  written   i 
a  boatman. 


biir  -ka-rol),   a   boat-song. 
11    the  rocking  movement  of 


a  ale^  a  add,  ii  arm,  e  eve,  6  end,  I  ice,  \  Hi,  o  old,  6  odd,  6  dove,  00  moon,  u  lute,  \\  but,  ii  Fr.  sound 

6 


BAR 


DICTION  A  i;V. 


IJEL 


BarKi«''»  VVoldcmar  (vol  -de-miir  biir-geel). 
Step-brother  of  Mine.  Clara  Schumann. 
Born  in  Berlin  182S.  A  teacher  and  an  ele- 
gant composer  of  piano  forte  pieces,  chamber - 
music,  etc.  B.  stands  too  near  Schumann  for 
his  own  talent  to  have  fair  play. 

Baritone,  a  male  voice  of  medium  range  and 
large  body  of  tone.     Also  the  name  of  the 
smaller  bass  saxhorn,  in  B6. 
Baritone  Clef,  the  bass  clef  applied  to  the 

third  line  of  the  staff. 
Bai'liby.  Joseph,   a   prominent  English  com- 
poser   of   church    music,   glees,   songs,   etc. 
Born  about  1837.     For  some  reason  omitted 
from  prove's  Die.  and  Mendel. 
Barnett.  John  F.,  an  English  pianist  and  com- 
poser   of   three    Cantatas,     'The    Ancient 
Mariner"    1867,    "Paradise    and   the   Pen 
1870,  "Raising  of   Lazarus"   J873,  "  Lay  of 
the  Last  Minstrel  "  1874  ;  also  of  several  con- 
certos, overtures,  quartettes,  etc.     Born  Oct. 
6,  1838. 
Barri'l    OrjEan.  of  various  design  and  con- 
structi  >u.     Some  are  merely  enlarged  music- 
boxes,  others  small  orchestrions,  in  which  the 
tones  are  produced  by  reeds  or  pipes.     All  are 
controlled  by  means  of  a  barrel,  or  cylinder, 
on  the  surfoce  of  which   pins   are  set  at  such 
intervals  that   a  revolution    of  the  cylinder 
opens  thc^  valve;  and  so  produces  the  tones  ot 
a  piece.     By  sliding  the  barrel  a  minute  dis- 
tance, another  set  of  pins  come  into  operation, 
and  ther<.by  the  tune  is  cri?.nged.    In  orches- 
trion organs  the  crank  not  only  revolves  the 
cylinder,  but  also  works  the  bellows. 
Bartholrt.V.  se;  Alendelssohn. 
Bar.\<Olie.  a  stringed  instrument  of  the  violin 
family,    having  six    or   seven   catgut   strings 
stretched  over  the  fingerboard,  and  frorr.  nine 
to  twenty-four  metal  strings  which  act  sympa- 
thotically.     Has  a   weak   but    pleasing  tone. 
Has  given  place  to  the  violoncello. 
BasiiM  (bas),  the  lowest  part  in  harmony.     ALo 

the  lowest  male  voice. 
Ba^SO  Profnndo   (prd-fun'-dd).     The  low- 
est male  voice,  of  deep  qual.ty  of  tone. 
Ba!!>»«et  Horn  (Ilal.  como  di  bassetto).  a  bass 
clarinet  in  F,  rea'zhing  from  F  below  the  bass 
clef.  Written  for  by  Mozart  and  Mendelssohn. 

BaSH  Clarinet,  a  low  clarinet  ranging  up- 
wards from  E  below  middle  C.  A  slow-speak- 
ing, hollow-toned  instrument. 

BaS!S  <'lef.  the  sign  of  the  bass  staff.  Repre- 
sents F  next  below  middle  C. 

Ba^S  Tuba,  th  .  lowest  of  the  saxhorn  family. 
That  in  E^  reaches  E/'  of  the  16  ft.  octave. 
The  B/'  Tuba,  B/'  in  the  32  ft.  octave,  three 
octaves  belov.-  middle  C. 

Bassini.  Carlo,  an  Italian  teacher  of  singing, 
living  in  New  York  from  1864  or  thereabouts. 
Died  in  187J. 

Bass  Horn,  see  Serpent. 

Bassoon  (ba-zoon),  Ger.  Fagott,  a  wooden 
double-reed  instrument  of  8  ft.  tone.  Its 
compass  is  from  16  ft.  Bb  to  A/' on  2d  space 
of  treole.  Is  the  natural  bass  of  the  oboes 
and  clarinets,  i.  *.,  the  "wood."' 

Bas<iO  i'antante  (Ital.  kan-liin-tfO.  The 
Mn<'ing  bass,  or  principal  bass  singer,  as  dis- 
tinguished from  tlie  ^w.fo/'«^f,  comic  bass, 
and  the  basso  pro/undo,  or  very  low  bass 


Basso  <'oiltinuo.  a  bass  running  through  the 
whole  piece,  from  which,  with  figures,  the 
accompaniment  used  to  be  played.  See 
Thorough   Bass. 


The 


Bass   Posaiine  (Ger.  biLss  po-soun'— 

1, -ss  trombone. 
Bsisteii  et  Bastienne,  a  German  operetta 

in  one  act.     .Moziirt  1768. 

Bass  Viol,  English  name  of  the  violoncello. 

Baton   (Fr.  ba-tonh  ).    A  conductor's  stick -or 

beating  time. 
Battle   of   I'raKtie,  a  descriptive  sonata  by 

Kotzwara,    1792.     One   of    the   most  famous 

pieces  of  programme  music. 

Battle  Symphony.  English  name  for  Bee- 
thoven's ••  Wellington's  Sieg  oderdie  bchlagt 
bci  Vittoria,"  op.  91.     1813. 

Battement  (Fr.  bat  -tP-mon).  An  old  em- 
bellishment similar  to  the  mordente,  but 
made  with  the  note  below. 

Battisllill,  Jonathan,  an  English  composer  of 
":oncs,  glees,  catches  and  anthems.  1738-1801. 

Bannibaell.  Adolph,  a  German  piano  forte 
teacher  and  prolific  arranger  of  piano  pieces, 
living  some  time  in  Boston.  Came  to  Chicago 
about  1863.     Died  1880. 

B  dlir  (Ger.  dur).     B  major. 

Bearinss,  the  few  notes  a  tuner  lays  down 
carefully  as  guides.  Usually  the  middle  oc- 
tave. 

Beat.  An  embellishment  of  the  mordent  kind. 
2.  The  conductor's    motion   in   indicating 

the  time.  _         ,  ,. 

-  The  throbbing  efTect  of  dissomnce,  pro- 
duced by  the  occasional  interference  and  con- 
sequent extinction  of  a  vibration.  1  he 
number  of  beats  per  second  is  equal  to  the 
difference  between  the  rates  of  vibration  in 
the  notes. 
Beeker,  Paul,  a  German  piano  te.acher  and 
fine  musician,  resident  in  Chicago  since  '8,3, 
where  he  was  for  many  years  the  leading  ex- 
ponent of  classical  music. 

Beeker.  Carl  Ferdinand,  or3anist  and  professor 
at  the  Conservatorium  of  Leipsic.  Born  1804. 
died  1877.  Especially  learned  in  musical 
literature. 

Beer  (biir).    Original  name  of  Meyer  Beer. 

Beethoven.  Ludwig  van  (lood    vTg  fan  bu'- 

td-vn).     1770-1827.     See  P.art  VIII. 
Belir.  Fr.,  a  German  composer  of  light  pieces. 
Ke::Ieiten  (Cer.  bPg-li  -tPn).   To  accompany. 

BeSKiU-'s  Opera,  a  celebrated  piece,  written 
•    m  .727  by  Gay.     Its  songs  were  all  written  to 
old  melodies,  or  to  the  most  popii.ar  airi  ol 
the  day.     It  had  an  immense  success. 

Bell,  the  expanded  opening  in  which  most  brass 
instrume.us  terminate.  AUo  .appl.ed_t_o  or- 
gan pipes,  as  in  the  -  bell  diap.ison,  bell 
g.amba.^'  in  whi  Ji  all  the  pipes  end  m  a  bell. 

BelisarlO  (bPI-I-sUr  -Id).  Italian  opera  in  3 
acis  by  Donizetti,  1836. 

Belie7./.a  (Ital.  bi5l-Wit  -za).  Beauty  of  tone 
.iiul  expression. 

Beliieoso  (Ital.  bPl-H-kd  -i'o).    Warlike. 


,{;}~r7,«,  a  ar,.,.  e  e-.e.  6  .W,  i  /<v,  I  ://,  6  old,  o  odd,  0  ,/....  00  ;...«,  u  luU,  ,1  but,  U  />.  sound 


BEL 


DICTIONARY. 


BIS 


Bellini,  Vincenzo  (vin  Itli5n'-dz5  bel-lee- 
nee).  Italian  composer  of  operas,  the  best  of 
which  are  "  Sonnambula,''  "  I  Puritan!  "  and 
"Norma."  His  writing  is  characterized  by 
delicate  and  graceful  melody,  and  great  refine- 
ment. Bellini  died  very  young,  perh3<ps  before 
his  powers  were  fully  developed  ;  still  he  rep- 
represents  the  simple,  natural  side  nf  Itali.i-n 
music,  where  the  music  e.xistsfor  itself  alone, 
paying  very  little  attention  to  the  te.xt,  a 
school  which  was  ev<-n  in  his  day  giving  place 
to  the  stionger  style  of  Verdi  and  Wagner. 
i8o2-i335. 

BellOM'S,  the  wind  receptacles  of  organs. 

Bells,  musical  instruments  of  metal,  sounding 
by  percussion.  E.xtremely  ancient.  Bell  metal 
consists  of  copper  and  tin,  3  to  i. 

Belly,  the  upper  side  of  violins,  that  ne.xt  the 
strings. 

BelsliaKirar,  an  oratorio  by  Handel,  1745. 

2.  Dramatic  piece  by  Mr.  J.  A.  Butterfield, 
1871.     Written  for  amateurs. 

Benierkbar  (Ger.  be-mark-biir),  marked  ;  to 
be  played  in  a  prominent  manner. 

Be  niol  (Fr.  bg-mol  ).     B  flat. 

Ben,  Bene  (Ital.  ben,  ba  -ne).     Well. 

Bcnecliet.  Sir  Julius,  born  at  Stuttgart,  Nov. 
27,  1S04.  "  One  of  the  most  eminent  foreign 
musicians  settled  in  England  since  Handel's 
time."  Author  of  several  operas,  the  ora- 
torios of  "  St.  Cecelia"  and  "St.  Peter."  One 
of  the  most  eminent  conductors  of  the  present 
time.  Lives  in  London.  Vi-ited  this  country 
with  Jenny  Lind  in  1850. 

Benedietus  (Lat.)  The  song  of  Zachariah, 
Luke  i. 

Benclel.  Franz,  piano  virtuoso  and  composer  of 
avast  mass  of  piano  music,  among  the  best 
of  which  is  his  "  Am  Genfer  See,"  also  his 
op.  8,  45  and  47.  Visited  the  United  States 
and  played  at  2d  Peace  Jubilee  in  1872.  Died 
about  it>74.     B.  1833. 

Bennett,  William  Stemdale.Mus.Doc,  M.A., 
D.C.L.,  one  of  the  greatest  English  compos- 
ers since  Purcell.  Born  1816.  B.  was  a  great 
friend  of  Mendelssohn's,  whose  style  in- 
fluenced him  very  much.  Composer  of  many 
piano  works,  two  concertos,  1840,  for  piano 
and  orchestra,  cantata  "The  May  Queen," 
1858,  and  an  oratorio  "  The  Women  of  Sama- 
ria," 1867.  (Given  in  Boston  in  1S74.)  His 
works  are  characterized  by  elegance  and  finish 
rather  than  power.     Died  Feb.  i,  1875. 

Ben  pronunziato(Ital.  pro-noon-tse-ii'-to). 

Pronounced  clearly  and  distinctly. 

Berceuse  (Fr.  bair-siirs'),  a  cradle  song. 
Characterized  by  a  rocking  and  monotonous 
accompaniment,  and  great  delicacy, 

BerenS,  Hermann  (bii  -rens),  born  at  Hamburg 
1826.  A  good  pianist  and  a  successful  popu- 
lar composer.  Resides  in  Stockholm,  Sweden, 
where  he  is  very  active  in  all  departments  of 
musical  work.     D.  1880. 

Bei'ger,  Ludwig  (lood-vig  bair-ger),  a  fine 
pianist  and  composer  in  Berlin  1777-1838. 
Pupil  of  dementi.  B.  was  teacher  of  Men- 
delssohn, Taubert,  Henselt,  and  Fanny 
Hensel.     A  prolific  writer. 

Bei'Se,  William  (bar'-ga),  a  piano-teacher, 
organist,  and  arranger  of  pieces  in  New  York. 


Bers;niaiin.  Karl,  a  'cellist  and  conductor, 
born  at  EisenaKrh  in  Sa.\ony,  1821.  Came  to 
America  with  the  "  Germania  "  orchestra  in 
1850.  In  1857  he  removed  from  Boston  to 
New  York,  where  he  occupied  a  leading  place 
as  conductor  of  the  "Arion,"  "  Philharmon- 
icj'  etc.     Died  1877. 

Bei'iot,  Charles  Auguste  de  (ber'-io),  a 
celebrated  violinist,  born  in  Belgium  1802. 
Died  1870.  In  183s  he  married  the  famous 
singer  Malibran.  Author  of  many  pleasing 
works  for  piano  and  violin. 

Berlioz,  Hector  (bair-lioi),  a  great  French 
composer,  critic  and  litterateur.  Born  Dec. 
II,  1803,  died  March  9,  iSfg.  Composer  of 
many  overtures,  symphonic  poems,  et;.,  of 
the  "programme"  order,  in  which  all  the 
resources  of  the  modern  orchestra  are  em- 
ployed with  consummate  mastery  for  the  por- 
trayal of  poetic,  bizarre,  piquant,  or  profound 
sentiment.  Berlioz  seems  like  a  genius  of 
great  power,  in  whom  a  vivid  imagination  is 
not  restrained  by  good  j  udgment.  Asa  writer 
about  music  he  is  one  of  the  most  gifted  of 
the  present  century.  His  place  as  a  com- 
poser is  not  yet  settled.  His  greatest  dramatic 
work,  "The  Damnation  of  Faust"  1846,  is 
only  just  receiving  its  due  recognition. 

Berttni,  Henri  (bar-teen'-ee),  a  pianist  of 
French  family,  born  at  London  1798.  Settled 
in  Paris  1821.  Died  at  Meylan  1876.  B. 
was  author  of  more  than  200  compositions,  of 
which  his  piano-school  and  "etudes"  had 
wide  currency.     They  are  now  superseded. 

Bes  (Ger.  bes).  The  note  B  double  flat,  en- 
hai'monic  with  A  natural. 

Best,  William  T.,  the  eminent  English  virtuoso 
organist,  born  at  Carlisle  1826.  Since  '55, 
organist  of  St.  George's  Hall  in  Liverpool. 
Composer  of  many  church  services  and  many 
skillful  and  effective  "  arrangements  "  for  the 
organ;  also  of  a  large  "organ  school."  B. 
has  been  called  "  the  Liszt  of  the  organ,"  a 
title  more  complimentary  than  e.xact. 

Beyer,  "Ferd.  (bl'-er)  1803-1863.  A  prolific 
'■  arranger  "  for  the  piano-forte. 

Bianea.  or  tlie  Bravo's  Bride,  a  grand 

opera  in  4  acts,  by  Balfe.     i860. 

Bianea  K  Faliero  (bee-an'-ka  a  fal-ya'-r5). 

Opera  by  Rossini,  1819.     A  failure. 

Bind,  see  Tie. 

Birniins;liani    Festival,    triennial.    The 

most  imponant  in  England.  Among  the 
great  works  written  for  it  were  "  Elijah  "  in 
1846,  "Eli"  i8ss,  "  Naaman"  1864.  Profits 
go  to  hospital  funds.     Last  one  occurred  in 

1S79. 

Billert,  Karl,  a  German  composer  of  psalms, 
songs,  overtures,  symphonies,  etc.  A  promi- 
nent and  active  musician.     1821  — . 

Bilse,  Benjamin  (bi!'-se),  one  of  the  most 
famous  conductors  of  the  present  day.  Born 
1816.  His  famous  orchestra  at  Berlin,  has  70 
men.     B.  is  also  a  composer  of  dance  music. 

Bird.  H.  D.,  organist  in  Chicago.     Born  about 

1837. 
Bis,  twice  ;  equivalent  to  encore,  "  again." 

Bishop,  Sir  Henry  Rowley,  a  popular  English 
composer  of  songs,  stage  pieces,  operas,  one 
oratorio  (never  performed),  etc.     1786-1855- 


a  ale.,  a  add^  a  arm.,  e  eve,  6  end^  i  ice.,  i  III,  o  old,  6  odd,  6  dove,  00  moon,  u  lule,  u  bitty  u  Fr.  sound 

8 


BLA 


DlCTiU^■AUV. 


liliA 


Blaxe  (called  Castil-Blaze),  Francois  (blUz),  a 
French  writer  upon  music  in  "  Le  Menestrel," 
and  in  books.     1784-1857. 

BluNillNtriimeiltS  (Ger.  from  blasen^  to 
blow).      Wind  in--trunn;nts,  which  see. 

ItlaNMiliaiin.  Adolph  J.  M.,born  1823  at  Dre»- 
dcM,  An  accomplished  musician,  composer 
and  director  at  Dresden. 

ItlechillStruiIieutN  (blek).  Brass  instru- 
ments. 

ISIow.  John,  Mus.  Doc,  a  voluminous  English 
writer  of  church  music,  odes,  songs,  etc. 
1648-1708.  Organist  of  Westminster  Abbey, 
where  also  he  was  buried. 

Kllinicntlial.  Jacob  (blu'-men-tal),  a  fashion- 
able jiiano  teacher  in  London,  and  composer 
of  light  pieces  and  popular  songs.  Born  at 
Hamburg  1829. 

It  lliol.  the  German  name  of  the  key  of  B  flat 

minor. 

Bo«'tra  ricit'llte  (It.  bo'-kii  re-dan'-te).  Smil- 
ing mouth.  .Applied  in  singing  to  a  position 
of  mouth  believed  to  be  f.ivorable  to  the  pro- 
duction of  a  good  tone. 

MoeolK'I'ini,  Luigi  (Iwee'-geebdk-er-een'-ee), 
a  hi;.;hly  gifted  Italian  composer  of  chamber 
music,  of  which  he  left  a  vast  amount,  and  of 
masses,  songs,  cantatas,  concertos,  etc.  An 
e.\tremely  melodious  and  pleasing  writer. 
1740-1805. 

Uo<'ll!>ia,  Robert  N.  C.  (bok'-sii*,  a  composer 
and  eminent  harpist,  1789-1855.  As  a  com- 
poser, "  too  prolific  for  his  own  fame."  As  a 
man,  "  irregular  and  dissipated  to  the  last 
degree." 

K«»St'  (bo-je).     A  bow  for  stringed  instruments. 

Btjelllll,  Theobald,  a  famous  flute-player  at 
Munich,  and  inventorof  ihe  flute  which  bears 
his  name.  Born  1802.  -Vuthor  of  a  well  known 
set  of  32  studies  for  Flute. 

Boieldieil,  Frangois  .Adrien  (bwal'-dfi),  born 
1775  at  Rouen.  B.  made  his  debut  in  Paris 
as  an  opera  composer  with  "  Famille  Suisse  " 
in  1797,  which  had  a  run  of  30  nights.  His 
famous  "  Califle  do  Bardad''  was  produced 
in  1798.  "La  Dame  Blanche"  1825.  This 
latter  opera  up  to  June  1875  had  been  per- 
formed 1,340  times.  B.  was  the  greatest  mas- 
ter of  French  comic  opera.     He  died  in  1834. 

BoIei*0  (bo-lar'-o)  A  brisk  Spani^ll  dance, 
similar  to  the  polacca.  It  is  in  3-4  time,  in 
eighth  notes  with  two  sixteenths  on  the  last 
half  of  the  first  beat  of  the  measure. 

BoloSfHSl  (bi>-l'">n'-v;n.  The  seat  of  the  earliest 
music  school  in  Italy,  founded  1482. 

Boillbai'dttll.  or  Btttlllbai'd.  now  applied  to 

the  lowest  of  the  sa.\-horns.  (Sec  Bass-tub.i.) 

2.   The   name  of  a  reed   pedal-stop  in    the 

organ,   generally  of  32   ft.,  large   scale,  rich 

tone  and  frequently  on  a  heavy  wind  pressure. 

BoiK'S,  four  pieces  of  the  ribs  of  horses  or  o.xen, 
l-.cld  in  the  hands  and  struck  together  rhyth- 
mically, like  castanets. 

Boosey  «!lt   <'<>..  music  publishers  in  London. 

Lstablislied  about  1820. 
Bor«los<»,  Luigi  (Iwee'-gee  bor-da-se),  a  light 

opera  and  song  composer  of  the  present  time. 

Born  in  Naples  in  1S15. 


ltor<lo;;iii,  Marco  (bur-dun'-ye),  one  of  the 
most  celebrated  singers  and  masters  of  sing- 
ing of  recent  limes.  Born  in  Bergamo  1788, 
died  1856.  Author  of  many  songs,  collections 
of  studies  for  the  voice,  etc.  For  32  years  from 
1824,  professor  of  singing  in  the  Paris  Conser- 
vatoire. 

Bourduil  (boor'-don).  An  organ  stop,  usually 
of  16  ft.  pitch,  consisting  of  stopped  wooden 
pipes,  otherwise  called  "  stopped  diapason." 

Boiiclic  FerilU'C  (Fr.  boosJi  fur-mu').     The 

mouth  closed. 

BotU'Miiii.  Giovanni  (jo-vUn'-nee  br>t-t("s-see'- 
nee),    a    celebralcti    virtuoso     contrabassist. 


successful  operas,  as  we 


3.     Aul 
11  as  ui 


quattettes,  sym- 


Born  in    Lombjrdi    1823.     Author  of  several 
successful  op 
phonies,  etc. 

BouiT«'«'  (boor-ra).  \  dance  of  French  origin, 
similar  to  the  gavotte,  but  quicker,  having 
only  two  beats  to  the  measure.  Found  in 
suites. 

Bow.  Used  to  set  in  vibration  the  strings  of  the 
violin  family.  C'insists  of  a  stick  of  Brazilian 
lance-wood.  From  175  to  250  hairs  arc  put  in 
a  violin  bow.  The  present  lorm  was  pcricctcd 
by  Tourte  ne.ir  the  close  of  the  i8th  century. 

Bowing  (bo-inf).     The  art  of  using  the  bow. 

Boyoo.  William,  .Mus.  Doc,  an  Engli.sb  com- 
poser of  church  music,  odes,  oratorios,  a  few 
pieces  for  the  theatre,  and  a  collection  of 
standard  music  for  the  cathedral.      1710-1779. 

BrabaiiSOiillC.  La  (brii-ban'-son-ne).  The 
national  air  of  the  Belgians,  dating  from  1830. 

Bra«*e.  A  vertical  line  for  connecting  the  staves 
of  music  performed  simultaneously  in  a  score. 

Brahms.  Johannes  (yo-hiin'-ncs  briimsj,  one  of 
the  greatest  living  composers.  Was  born  at 
Hamburg,  1833.  He  was  the  son  of  a  musici- 
an, and  his  education  commenced  early.  B. 
has  composed  a  large  number  of  works,  all  of 
masterly  workmanship,  and  they  are  rapidiv 
becoming  current  throughout  the  musical 
world.  They  consist  of  very  many  songs 
(over  iod),  piano  forte  pieces,  quartettes  and 
other  chamber  music,  variations,  and  two 
symphonies  which  have  been  received  with 
enthusiasm  wherever  performed. 

Itl'aiilf,  an  old  English  dance. 

Bra>!>s  Band.  A  band  fiirni>hed  with  br.ass 
instruments  of  the  sa.\-horn  family.  The 
proper  appointment  of  such  a  band  requires: 
Band  of  Eight.  — i  \-J>  Cornet,  2  \Mt  Cor- 
nets, 2  V.b  Altos,  I  'Rb  Tenor,  1  V>b  Baritone, 
I  E<^  Bass. 

B.^Nl>  OF  Twelve.— 2  E*  Cornets,  a  B/' 
Cornets,  3  E^  Altos,  2  \\b  Tenors,  i  B^  Bari- 
tone, I  B2  Bass.  I  E/>  Bass. 

Band  of  Sixteen.— 3  Ei  Corne's,  3  B/- 
Cornets,  3  E/'  Altos,  2  B/i  Tenors,  1  B^  bari- 
tone, I  B/'  Bass,  3  E/>  Basses. 

The  addition  of  oboes  and  clarinets  trans- 
forms a  "brass"  band  into  a  Military  band, 
which  sec. 

Bra.ssin.  Louis  (briis-sahn),  one  of  the  most 
noted  piano  virtuoso>  of  the  present  time. 
Was  bom  in  Brussels  in  1840.  Was  a  studrnl 
at  Leipsic,  and  later  teacher  of  piano  at 
Stern's  conservatory  in  Berlin.  B.  is  a 
talented  composer,  and  an  exceedingly  good 
interpreter  of  music,  both  old  and  new. 

BratHf  ll.  The  German  name  for  the  viola,  or 
tenor  viol. 


a  ale,  il  add,  ii  arm,  e  eve,  e  end,  i  /V<-,  I  ///,  6  old^  o  odd,  0  diK>i\  00  ihooh,  u  lute,  u  but,  U  Fr.  sound 

9 


BRA 


DICTIONARY. 


CAL 


Bravura  (Ital.  bra-voo'-rii).  Courage;  brav- 
ery. A  style  of  music  in  which  effect  is 
sought  for. 

Breit  (Ger.  brit).     Broad. 

Breitkopf  A:  Hartel,  a  Leipsic  firm  of 
music  publishers,  which  on  Jan.  27,  1869, 
celebrated  its  150th  anniversary,  the  business 
having  descended  from  father  to  son. 

Brendel.  Dr.  Karl  Franz,  musical  critic  and 
lecturer  on  the  history  of  music  in  the  Con- 
servatory .It  Leipsic  ;  succeeded  Schumann  as 
editor  of  the  "  Neu  Zeitschrift  fur  Music." 
1811-1B68. 

Breve,  a  note  equal  to  two  whole-notes  (semi- 
breves)  ;  not  now  used  except  in  church  music. 

Bridge,  the  wooden  contrivance  used  to  sup- 
pjrt  strings  of  stringed  instruments,  and  to 
communicate  their  vibrations  to  the  sounding- 
board. 

Brio  (Ital.  bree -6).     Spirit;  vigor;  force. 

Brilliante  (Ital.  and  Fr.)     Brilliantly. 

BriStOW.  Geo.  F..  director  and  music  teacher 
in  New  York.  Born  1825.  Author  of  two 
symphonies,  an  opera,  etc. 

Brilltlisi  (Ital.  brin'-dee-see,/^?-  brindisi,  to 
drink  a  health).     A  drinking  song. 

BriSSOll.  Francois,  a  French  composer  of  piano 
pieces. 

Broken  Chords,  chords  the  tones  of  which 
are  sounded  separately  instead  of  simul- 
taneously. 

Broiisart.  Hans  von,  a  distinguished  pianist, 
a  pupil  of  KuUak  and  Liszt,  and  music  dnec- 
tor  at  Hanover.  Born  1830  in  Konigsburg. 
A  talented  composer,  his  concerto  in  F  sharp 
minor  having  been  much  played  by  Billow. 

Bruoll.  Max  (briikh),  one  of  the  most  erninent 
living  German  composers,  especially  in  re- 
spect to  large  vocal  works,  such  as  his 
"  Loreley,"  "  Frithjof,"  "Odysseus,"  "  Flight 
of  the  Holy  Family,"  "  The  Lay  of  the  Bell," 
etc.  To  this  must  be  added  his  two  \iolin 
concerios,  a  symphony,  etc.  Bruch  is  a  mas- 
ter of  the  orchestra,  an  earnest  and  serious 
composer,  highly. gifted  in  melody  no  less 
than  harmony,  and  wiiiial  a  genius.    B.  1838. 

Bliek,  Dudley,  born  at  Hartford,  Conn.  1837. 
His  studies  in  composition  were  mainly  made 
with  Julius  Rictz  at  Leipsic  and  Dresden, 
where  also  he  was  an  organ  pupil  of  Schneider. 
His  first"  Motette  Collection  "  was  published 
in  1867,  and  marks  an  epoch  in  American 
church  music.  His  second  in  1871.  Buck 
has  also  written  very  much  church  music  for 
Episcopal  choirs,  and  three  important  cho;a! 
works:  "Don  Munio,''  the  "46th  Psalm,'' 
and  last  •'  Scenes  from  the  Golden  Legend," 
which  gained  the  $1,000  prize  at  Cincinnati 
in  1880.  He  has  aUo  written  several  chamber 
compositions,  overtures  and  two  symphonies. 
Buck  must  be  regarded  as  one  of  the  most 
distinguished  American  composers.  In  1871 
he  became  organist  at  the  Boston  Music  Hall. 
In  1875  he  removed  to  Brooklyn,  where  he 
still  resides. 

Butt'O  (Ital.  boof-6).     Comic. 

BuelOW,  Hans  Gu'do  von  (bii'-lo),  the  great 
pianist,  born  at  Dresden,  1830.  Became  pupil 
of  Liszt  in  1851.  Made  his  first  concert  jour- 
ney in  1853.  Since  then  resident  in  Berlin, 
Dresden,  etc.  Visited  America  in  1876. 
Billow  is  one  of  the   most   learned   musicians 


of  the  present  day,  a  great  conductor,  and  a 
pianist  with  iiO  superior  (except  perhaps 
Liszt).  B.  has  a  prodigious  memory,  know- 
ing by  heart  almost  the  entire  classical  litera- 
ture of  music.  He  is  also  a  composer  of 
important  works. 
Burden,  a  chorus  or  refrain  in  old  songs. 

Burgniueller,  Norbert,  born  at  Dusseldorf, 
1810.  Died  in  1836.  He  left  a  symphony  and 
several  other  works  of  decided  value  and 
promise. 

Burla.  Burlesca  or  Burlesque,  a  musi- 
cal joke. 
Bisrletta  (Ital.  bUr-lef-ta).     A  musical  farce. 

Burney.  Charles,  Mus.  Doc,  1726-1814.  A 
cultivated  and  genial  Englishman,  best  known 
by  his  "  History  of  Music,"  1776-1789  Wrote 
before  modern  music  was  developed  ;  it  is  nC 
wonder,  therefore,  that  his  erudite  work  con- 
tains little  of  present  value. 

Burroives,  John  F.,  London,  1787-1852. 
Best  known  by  his  piano-forte  and  thorough 
bass  "Primers,"  two  of  the  most  successful 
and  worst  text-books  ever  made. 

Busby.  Thomas,  Mus.  Doc,  a  laborious  Eng- 
lish composer  and  writer  of  works  about 
music,  now  forgotten.     1755-1838. 

Butterfield,  J.  .•\.,  born  in  England,  1837. 
Author  of  popular  songs  and  several  dramatic 
pieces,  "  Belshazzar  "  1871,  "  Ruth  "  1875,  "A 
Race  for  a  Wife  "  1879. 

Buxteliude,  Dietrich,  a  celebrated  organist 
and  composer,  whose  playing  Bach  went  to 
LUbeck  to  hear.    1637-1707. 

Byrd,  William,  a  prolific  English  composer  and 
publisher.      1538-1623. 

C,  the  key  note  of  the  natural  scale.  It  is  the 
Ionic  scale  of  the  church  modes.  The  name 
of  a  certain  pitch  (see  "  Pitch  ").  The  sign 
of  common   time,  4-4. 

Cabinet  Orjjan.  a  reed  organ.  (This  name 
is  ovv.ied  by  the  Mason  &  Hamlin  Organ  Co., 
who  were  the  first  to  use  it.) 

Cabinet  Piano,  a  small  upright  piano.  The 
large  upright  pianos  are  sometimes  called 
"  cabinet  grand." 

Cabaletta  (Sp.  kii  bal-iit  tii).  A  lively  melody 
in  triplet  time  and  rondo  form. 

Cadence  (from  cado^  to  fall).  The  close  of  a 
strain  or  piece  of  music.  Cadences  are  "  per- 
fect," "imperfect,"  "half  and  "  plagal." 
See  Lesson  iii. 

2.  Also  the  name  of  an  old  embellishment 
resembling  the  mordente. 

Cadenza  (Ital.  ka-diint'-zai.  A  more  or  less 
elaborate  bravoura  passage,  introduced  by  a 
performer  just  before  the  close  of  a  piece.  In 
concertos,  cadenzas  are  sometimes  extended 
to  several  pages. 

CseeiliaCse-sTl  -la).  A  German  musical  periodi- 
cal founded  by  Gottfried  Weber.  1824-1848. 
(See  Cecilia,  Si.) 

Ca  Ira  (sa  ee-ra).  The  earliest  of  French  revo- 
lutionary songs. 

Calando  (Ital.  from  calare,  to  descend).  With 
decreasing  force. 

Caldara.  Antonio  (k:il-da'-ra),  born  at  Venice 
1678.  Died  1768  (or  1736,  date  disputed). 
Wrote  69  operas  and  oratorios. 


a  ale.  a  add^  a  arm^  e  eve,  eend^  i  ice,  i  il^,  o  old,  6  odd,  o  do~je,  00  moon,  u  lute,  u  bitty  ii  Fr.  sound 


CAL 


DICTIUNAKY. 


CEL 


C'aliftV'   cle    ICii;;«l:ul  (Fr.)     Comic  opera  in 

one    act.     l.ib.    by    Saint -Just.     Music    by 
Boiuldieu,  i8oo. 

Callcwtt.  John  W.,  Mus.  Doc,  an  English 
composer  of  glees,  anthems,  etc.,  and  a  musi- 
cal grammar.    1766-1S21 

CallllUtU  Cital.  kal-ma'-to).   Calmed  ;  quieted. 

€alore  (Ital.  kal-o  -re).     Heat  ;  warmth. 

Camera  (Ital.  kam  -er-a).  Chamber,  or  room. 
Applied  to  compositions  ( sonata  di  camera) 
to  distinguish  thein  as  secular. 

Cailipaniiii,  Italo  (kam-pan-ee -nee),  the 
great  tenor,  born  at  Parma  in  1846.  Studied 
at  Parma  and  iMilan.  Debut  in  leading  char- 
actersin  1870.  Knows  the  tenor  lolesof  more 
than  eighty  operas. 

Caiiipaiiella  (Ital.  kam-pan-el  -la),  a  small 
bell.     A  piece  of  music  suggesting  little  bells. 

Canon  (Grk.)  A  musical  form  in  which  a 
second  voice  exactly  repeats  the  melody  of 
another  (called  the  anteL-edcnt)  at  any  pitch. 
Canons  are  in  unison  (antecedent  and  conse- 
quent at  the  same  pitch)  in  the  octave, 
second,  third,  fourth,  etc.  Also  in  contrary 
motion,  where  the  consequent  repeats  the 
antecedent  backwards,  and  inverted  (the  ups 
and  dov.ns  of  the  antecedent  reversed). 

Cantabile  fital.  kan-tii'-bil-e,  from  cantare^ 

to  sing).     In  singing  style. 

Cantata  (ital.  kan-ta  -ta),  sung.  A  composi- 
tion for  voices  with  or  without  orchestra. 
Sung  without  action. 

Cantate  ]>oinino  (Lat.  kan-ta'ti?  dom - 
In-6).     "  O  sing  unto  the  Lord,"  Ps.  98. 

Cantilena  (Ital.  kan- ti-lii -na).  A  short, 
song-like   piece  for  voice  or  instrument.     A 

ballad. 

Canto  (Ital.  kan'to),  song.  The  melody.  Bel 
Canto,  beautiful  song.  j 

Cantor  (Lat.)     Precentor.     The  director  of  a 

choir. 

CailtUH  FerniU!«  (Lat.)  The  fixed  melody. 
A  subject  to  which  c  junterpoint  is  to  be  auded. 

i'ailKOna  (Ital.  kan-zO'-fa).  A  song  in  a 
particular  Italian  style. 

Canxoiietta  (Ital.  kan-zo-net'-lS).  A  little 
canzona.     A  liglit  and  airy  little  .^ong. 

Capella  (Ital.  ka-pel'-la).     A  chapel. 

<'ai»elle  (Ger.  kii-pel'-PK     See  Kapell. 

Cape  11  Ell (' letter  (Ger.  mis'-tPri.  See  Ka- 
pellemeister. 

Capo  (Ital.  ka  -pOi.     The  head  or  beginning. 

Capo  tasto.  or  Cap4»  d astro  (Ital.>  A 
small  piece  attached  to  the  neck  of  a  guitar 
to  shorten  all  the  strings  in  order  to  facilitate 
playing  in  difhcult  keys. 

Caprferio  (Ital.  kii-prlt-zTo),  or  Caprice 
I  Fr.  kii-presi.  A  freak,  whim  or  fancy.  A 
composition  irregular  in  form. 

CaprieeiONO  iltal.  ka-prit-zio -zo).  Capri- 
ciously. 

Capiilleiti  e     Monteechi  (Ital.  kli-pool- 

let  -tee  ed  mon-tak'-keel.  "The  Capulets 
and  the  Montagues."  Italian  opera  in  3  acts, 
from  Shakespeare's  Romeo  and  Juliet,  by 
Bellini  Venice,  March  12,  1830.  A  fourth 
act  was  added  by  Vaccai. 


Carafa.  .Michclc  (ka-ra'-fa»,  a  popular  Italian 

opera   and    piano-forte  composer.     Born    at 

Naples  1785.     Made  profcsor  of  con.pusiiion 

[  at  the  Paris  Conservatoire  in  1828.  Died  1876. 

Carea.«*«<i,  Matteo  (kiir-kjls'scei,  an  eminent 
guitar  virtuoso.  Born  about  1792.  Died  in 
Paris  1853. 

Carillon  (kHr-IC  li'ini.  a  chime  of  bells.  A  set 
of  bells  so  arranged  as  to  be  pl.iycd  upon. 

CariNMimi.  Giacomo  ( jak-O'-mo  kiir-ees  -sl- 
mee  1,  a  celebrated  Italian  composerof  church 
music  and  oratorios,  in  which  he  greatly  im- 
proved recitative  and  acconipaniiricnts,  and 
left  many  works  deserving  to  bi  belter  known 
than  they  are  at  present.  Born  at  Rome 
1604.     Died  1674. 

Carlbersr.  Gotthold  (gm'-hold  karl -biirg),  a 
German  teacher,  conductor,  editor  and  com- 
poser, residing  in  New  York.  Born  about 
1837.  A  sharp  and  rather  sarcastic  writer 
in  excellent  English. 

Carnai>.v.  Wm.,  Mus.  Doc,  an  English  com- 
poser of  vocal  music.     1772-1839. 

Carnaval  iltal.i  carnival.  The  title  of  a  set 
of  fantastic  piece>  u\  Schumann,  op.  9. 

Carnaval  <li  1'eiiise.  a  popular  Venetian 
air,  to  which  grotesque  variations  have  been 
written  by  Paganini  and  many  others. 

Carter.  Henry,  an  English  organist  living  in 
New  Vork.     Born  perhaps  about  1840. 

Carter,  Thomas,  an  English  composer  of 
operas,  a  singer  and  pianist.     1735-1804. 

Cary,  Annie  Louise,  a  celebrated  contralto 
singer,  born  in  Maine  in  1846. 

Catalani,  Angelica  (iin-gel'-e-ka  kat-u-IS'- 
neei,  a  great  singer  born  1779.  Died  1849. 
She  had  a  soprano  voice  of  gieat  compass, 
purity  and  power,  and  prodigious  execution. 

Catell.  a  round  for  three  or  more  voices,  the 
singing  of  which  was  extremely  fashionable 
in  the  reign  of  Charles  II. 

Catel,  Charles  Simon  (ka-tel),  born  1773,  died 
1830.  A  French  theorist,  teacher  of  harmony, 
and  composerof  military  music  and  operas. 
Best  known  by  his  treatise  on  Harmony. 

CattfUt.the  name  given  to  the  material  for  cer- 
tain strings.  It  is  derived  from  the  int.-stines 
of  the  sheep  ;  never  from  the  cat. 

Cathedral  IBllNie,   music  composed  for  the 

English  cathedrals. 

Cavailie  (kav  -al-15),  a  family  of  distinguished 
organ-builders  in  the  South  of  France.  The 
present  representative  of  th*  name  is  Ca- 
vaillc-CoU,  the  distinguished  P.arisian  organ- 
builder. 

Ceeilia,  St.,  a  young  Roman  lady  of  noble 
birth,  a  Christian  and  a  martyr  of  the  second 
century.  She  has  beei.  lonij  regarded  as  the 
patron  saint  of  music  and  niii  -icians,  although 
there  is  no  authentic  evidence  of  her  having 
had  any  musical  accomplishment  whatever. 

Celeste  'Fr.  sf-lest  ).  An  organ  stop  or  tremu- 
lous e  T^-ct.  produced  by  a  set  of  reeds  or  pipes 
slightly  lower  than  the  true  pitch. 

Celtic  Music  was  entirely  melodic  in  charac- 
ter, no  harmonj  being  employed,  except  per- 
haps a  drone  las  in  the  bag-pipe).  The  scale 
consisted  of  five  tones:  .M.ijor,  C  d  c  g  a; 
minor,  .-V  c  e  d  g,  .and  D  e  g  a  c.  Several  ol 
the  Scotch  and  Irisli  melodies,  especially 
those  in  the  minor  keys,  are  of  Celtic  origin. 


a  «&,  a  add,  a  arm,  e  eve,  6  end,  \  ice,  I  Hi,  o  aid,  r>  odd,  o  dove,  00  ttioon,  u  iute,  u  6u/,  U  />.  soumi 

II 


CE:\r 


DICTIONARY. 


CHR 


Cembalo  ( Itul.  chem -bal-6).  Adulcimer.  The 
addition  of  keys  made  it  Claviercembalo, 
which  see. 

Ceillbal  d'  Aniore.  "  cymbal  of  love,"  an 
old  form  of  the  Clavichord,  which  see. 

Cenereiitola.  La  (Ital.  chen-er-an -to-la). 
An  opera  on  the  story  of  Cinderella  bv  Ros- 
sini, libretto  by  Feretti.  Produced  in  Rome, 
1817. 

Cliaconiie  (Ital.  Chiaconna).  An  obselete 
dance,  probably  of  Spanish  origin.  It  is  in 
3-4  time,  moderately  slow,  and  in  form  of 
variations.  Bach's  Chaconne  from  his  4th 
sonata  for  violin  solo  is  a  very  celebrated  ex- 
ample. 

Chamber  llu><ie,  is  the  name  applied  to  all 
that  class  of  music  specially  fitted  for  perform- 
ance in  a  room,  rather  than  in  a  large  hall  or 
church.  The  '"chamber"  quality  refers 
chiefly  to  the  serious  and  elevated  character 
of  the  thought,  and  the  consequent  difficulty 
of  finding  a  congenial  audience. 

Chanson  (Fr.  shang-song  ).  A  little  poem  or 
song. 

Chansonette  (Fr.  shan-son-6t  ).  A  little 
chansonne. 

Change,  any  order  in  which  the  bells  of  a  chime 
are  struck.     2.  A  change  of  key. 

Chant,  a  musical  utterance  in  definite  pitch, 
the  rhythm  of  which  is  entirely  determined 
by  the  needs  of  the  words. 

Chant,  Single,  a  chant,  the  music  of  which  con- 
sists cf  but  a  single  couplet.  Each  phrase 
consists  of  two  parts,  a  chanting  note  and  a 
cadence. 

Chant.  Double,  a  chant  consisting  of  two  coup- 
lets. 

Chapelle  (Fr.  shap-ell  >,  the  chapel.  Origin- 
ally the  musicians  of  a  chapel  ;  afterwards 
extended  to  include  the  choir  ?.nd  orchestra 
of  a  church,  chapel  or  palace.     See  Kapelle. 

Chappell.  William,  a  learned  English  musi- 
cian, born  in  1809  in  London.  Author  of 
"Popular  Music  in  the  Olden  Time,"  etc. 

Character  of  Keys,  a  supposed  difference 
in  the  emotional  effect  of  keys,  which,  if  it 
really  exists,  is  probably  due  to  absolute 
pitch.  C  was  pure,  simple  ;  D  maj.,  the  tone 
of  triumph  ;  I^  maj.,  joy,  etc. 

Characteristic   Tones,   the   fourth   and 

seventh  of  the  key,  because  these   tones  de- 
termine the  tonic. 

ChaSSe  (Fr;  shasl,  the  chase,  hunt.  Applied 
to  music  imitative  of  the  spirit  or  actual 
sounds  of  the  hunt. 

Chef  (Fr.  shef),  chief.  As  Chef  cT  attaque., 
leader  of  the  ist  violins  in  an  orchestra. 

Chernbini,  Maria  C.  Z.  S.  (ker  -ii-been  -ee), 
an  Italian  composer  born  at  Florence  1760. 
In  1822  he  became  Director  of  theJaris  Con- 
servatoire. Died  1842.  C.  was  a  prolific  and 
talented  composer  in  almost  every  depart- 
ment, but  is  best  known  by  his  treatise  on 
"  Counterpoint  and  Fugue,"  now  superseded, 
and  his  favorite  opera,  "  Tlie  Water-Carrier." 

Chiekering  &  ^ons,  an  eminent  firm  of 
piano-makers,  established  in  Boston,  Mass., 
by  Jonas  Chickerine  1823. 


Chiming.  A  bell  is  said  to  be  chimed  when 
she  is  swung  through  the  smallest  part  ot  a 
circle  possible  so  as  to  make  the  clapper 
strike.     Ringing  tunes. 

Chiroplast  (ki-ro-pliistt.  An  apparatus  in- 
vented by  Logier  in  1814,  designed  to  facili- 
tate the  acquisition  of  a  correct  position  of 
the  hands  at  the  piano-forte.  The  C.  con- 
sisted in  effect  of  a  wrist-guide  in  two  paral- 
lel bars,  between  which  the  wrist  was  moved, 
and  finger-guides  in  ihin  plates  of  metal,  con- 
fining each  finger  to  the  vertical  plane  over 
the  particular  key  which  that  finger  was  to 
strike.  Bohrer's"  hand-guide"  accomplishes 
a  much  better  purpose. 

Chlatlni.  Ernst  F.  F.  (klad'-nee),  a  German 
philosopher,  1756-1827.  One  of  the  first  in- 
vestigitors  of  sound,  and  the  father  of  the 
modern  doctrine  of  acoustics. 

ChO]>in,  Francois  Frederic  (sho  -pan),  born  in 
Poland  March  i,  1809.  Died  1849.  See  Chap- 
ters on  Chopin. 

Chorus,  a  body  of  singers.  A  composition  to 
be  sung  by  all  the  singers. 

Chorale  (kor-al'i.  A  sacred  song  in  slow  and 
sustained  tones. 

Choral  Fantasia  (ko-ral  fan'-ta-sia).  A 
compositi m  of  Beethoven's,  op.  80,  for  piano 
solo,  orchestra,  solo  quartette  and  chorus. 
1808. 

Choral  Symphony,  Beethoven's  9th  sym- 
phony, in  the  finale  of  which  a  chorus  is  in- 
troduced.    1824. 

Choralbuch  (Ger.  k5  -ral-bukh).  A  book  of 
chorals. 

Chorister,  a  choir  singer,  or  leader. 

Chord,  a  harmonic  combination  of  tones,  all 
related  to  the  chief  tone  called  the  root.  In 
consonant  chords  the  root  is  the  greatest  com- 
mon measure  of  the  series  of  vibrations  com- 
posing the  chords.  Dissonant  chords  have 
one  or  more  intruding  tones  not  related  to  the 
root.  These  afterwards  retire  in  favor  of 
(resolve  into)  the  consonant  tone  or  tones  they 
displaced. 

Choir,  a  body  of  singers.  The  part  of  a  cathe- 
dr.^.l  set  apart  for  the  performance  of  ordinary 
daily  service. 

Chorley.  Henry  F.  (kor'-ly),  an  English  jour- 
nalist, authorandart-critic.  1S08-1872.  From 
1830  to  1S68  he  was  associated  with  the 
"Athenaeum."  Authorof  numerous  sketches, 
vacation  letters,  novels,  etc.,  and  libretti. 

Choron,  Alexander  E.  (ko'-ron\  a  French 
teacher  of  music,  especially  singing,  and 
author  of  numerous  articles,  prefaces,  etc. 
1771-1834. 

ChristUS.  an  oratoriS  projected  by  Mendels- 
sohn to  form  a  trilogy  with  "  Elijah  "'  and 
"  St.  Paul."  He  finished  only  8  numbers  of 
it. 

Chi'istns  am  Oelbei'ge.  Christ  on  the 
Mount  of  Olives.     Oratorio  by  Beethoven. 

Chromatic,  literally  colored.  The  name  given 
to  tones  intermediate  between  the  tones  of  a 
key.  Also  applied  to  tones  written  with  ac- 
cidental sharps  or  flats. 

Chromatic  Scale,  a  scale  composed  of 
twelve  equally  separated  tones  in  an  octave. 
The  scale  produced  by  the  keys  of  a  piano- 
forte struck  consecutively  from  left  to  right, 
or  the  reverse. 


ale^  a  add^  ii  arin^  e  eve^  8  end^  I  ice,  1  ///,  o  old,  o  o.id,  6  dove,  00  moon,  u  lute.,  ii  bitt,  u  Fr.  so  und 

12 


CI  IK 


DICTIONARY. 


COM 


C'lii'oniutio    Diesis  (di-ee-sls).    A  Greek 

interval  equal  to  27-26. 

Chromatic  FUSIH',  a  fugue  witli  a  chro- 
matic subject. 

<']lM'iltal.  Krauz  Xaver,  a  prolific  Bohemian 
composer  of  quartettes,  symphonies,  instruc- 
tion books,  etc.     Born  1808. 

C'^rysanrtiT,  Friedrich,  the  il'ustrious  H.m 
del  scholar  and  editor  of  his  works.  B.  1-2' 
at  Liilitliee. 

C'ilUlH'll,  John,  a  large  music  publisher  of  Cin- 
cinnati,    li.  about  1830. 

4'iat*onna  (Ital.  tchii-kon  -na).     A  chaconne. 

Cilliorosa.  Domenica  (che-mo-ro -zah  1,  an 
Italian  musician  and  compo-er  of  some  90 
operas,  the  best  of  which  is  the  //  Matrimonio 
Segreto.     1749-1801. 

C'inqiie  (Fr.  singk).      Five. 
<'is  (Ger.  tsiss).     C  sharp. 

Cittern,  or  <"itliera.  an  instrument  some- 
what resembling  the  guitar.  Of  the  greatest 
antiquity.  Mentioned  by  Homer.  Has  wire 
strings,  and  is  played  with  a  plectrum. 

ClapiSSOll,  Antoine  Louis,  an  Italian  com- 
poser, born  1808.  Composer  of  16  operas.  D. 
i8€6. 

Cla«iue  (Fr.  klak).  An  organized  body  of  hired 
persons  distributed  through  a  theater  to 
create  applause. 

C'iari,  Giovanni  (jo-vUn'-nee  kliir'-ce),  an 
Italian  composer  of  church  music.   1669-1746. 

C'larJilot,  a  musical  instrument  consisting  of  a 
small  conical  tube  of  wood  about  24  inches 
long,  with  a  trumpet-shaped  bell.  The  tone 
is  produced  by  a  vibrating  reed  inthe  mouth- 
piece. It  has  a  reedy  quality,  and  about  three 
octaves  compass.  Much  used  in  orchestral 
scores  and  military  music. 

Clarke,  John,  Mus.  Doc,  an  English  composer 
of  church  music,  songs,  etc.     1770-1836. 

Classical,  a  term  used  somewhat  vaguely  in 
music.     See  Chapter  XXVI. 

Clavecin  (klav  -e-sin).  The  French  name  for 
harpsichord. 

ClaviceniUalO  (kia,v'-T-tchem-ba  -16).  Ital- 
ian name  for  a  harpsichord. 

Clavicliortl,  or  Clavier  (klav'-I-kord,  or 
klav-eerl.  A  keyed  instrument,  shaped  like 
a  square  piano-forte.  Strung  with  brass  wire, 
vibrated  by  means  of  "tangents,"  instead  of 
hammers. 

Clef  (klt'f ),  a  key.  A  character  written  at  the 
beginning  of  a  staff  to  determine  the_  pitch. 
The  C  clef  represented  middle  C.  The  G 
clef  represents  the  Ci  ne.xt  above  middle  C, 
and  is  now  always  written  on  the  second  line. 
The  F  clef,  on  the  fourth  line,  represents  F 
ne.xt  below  middle  C. 

element!,  Muzio  (mud-zio  klem-en'-tee). 
An  Italian  pianist  and  composer.  Born  at 
Rome  1752.  Died  in  England  1832.  Clementi 
was  one  of  the  greatest  pianists  of  his  day, 
and  the  author'of  a  set  of  studies,  "  The 
Gradus,'"  etc.,  still  indispensable  to  the  vir- 
'  tuoso.     He  was  author  of  many  sonatas  and 

other  pieces,  and  his  sonatas  were  highlv 
prized  by  Beethoven.  Clementi  lived  through 
the  most  memorable  period  in  music. 
"At  his  birth  Handel  was  alive  ;  at  his  death 
Beethoven,  Schubert   and  Weber  were    bu- 


ried." His  writings  are  characterized  by  great 
freshness,  clearness  and  individuality. 

i'lciiiciixa  ill  Tito,  La  ( klfm  -  r*n  -  zU  dec 
lee  -lOi.  '■  Ihe  Clemency  of  Titus,"  Mo- 
zart's 23d  and  last  opera.     1791. 

Climax,  the  summit.  A  point  of  culmination, 
in  power  or  interest. 

<'«!  (Ital.  kol),  with,  or  at  the  same  time  with. 
As  collti  parte,  v/'xlYi  the  part;  colia  voce, 
with   the  voice. 

<"oloratHr  (Ital.  kol-or-Ii- tur  l,  coloration. 
Runs  or  embellishments  introduced  in  sing- 
ing. 

Combination  Tones,  tones  produced  by 
the  coincident  vibrations  of  two  tones  sound- 
ing together.  Thus  e'  and  g'  sounded  to- 
gether on  a  reed  organ,  produce  middle  C  for 
a  combination  tone,  which  may  be  plainly 
heard. 

Combination  Pedals,  pedals  serving  to 
draw  or  retire  organ-stops,  and  thus  change 
the  "combination.'' 

Come  (Ital.  ko'-nie),  how,  as.  Cotne  sofira, 
as  above,  etc. 

Comes  (Lat.  ko-mees),  the  comp.anion.  The 
"answer"  in  fugue.  A  name  given  to  the 
subject  when  it  answers  in  another  voice. 

Comic  Moil^i^!'*!  songs  with  ludicrous  words. 

Comettant.  Oscar  (kom-met-tan),  a  French 
composer,  pianist  and  musical  critic  on  Le 
Si'i'c/e.  B.  1819.  C.  is  an  easy  and  humorous 
writer  and  a  great  traveler.  Author  of  a  few 
piano  pieces  and  several  books  on  musical  or 
semi-musical  subjects. 

Comma,  a  minute  interval,  represented  by  the 
ratio  8o-8r.  Thus,  e.g.,  if  E  be  tuned  four 
perfect  fifths  above  8-foot  C,  it  will  be  exactly 
a  comma  sharper  than  the  same  E  tuned  two 
octaves  and  a  major  third  above  the  same  C. 

Common  Time,  or  4-4,  a  measure  consisting 
of  four  units,  each  written  a  quarter  note. 
Primary  accent  on  "one  ;"'  secondary  accent 
on  "  three.'' 

Commotio  i  Ital.  kom-mO  -dO>.  Easily  ;  com- 
fortably. 

<'ommnnion  JSlervice,  a  set  of  anthems  for 
I'.  K.  church  service. 

Complementery    Interval,  that  which 

added  to  any  interval  completes  the  octave. 
Inversion,  is  the  change  from  an  interval  to 
its  complement.  Complements  follow  accord- 
ing to  the  two  rows  of  figures  here  given,  the 
sum  of  the  names  of  any  interval  and  its 
complement  being  nine  : 

12345678 

8  7         6  s  4  3  »  ■ 

Perfect  intervals  have  perfect  complements. 
.\11  others  go  by  contraries.  Major,  minor; 
augmented,  diminished. 

Comitound  Intervals,  intervals  greater 
than  an  odavc. 

ComponiKl  Mtops,  a  name  given  to  organ 
stiips  having  several  pipes  to  each  key.  See 
Mixture. 

Com|>OUllll  Time,  a  measure  composed  of 
two  or  more  simple  triple  measures.  6—3X2, 
9=3X1,  12  =  3X1.  See  "  Rhythm  '*  in  "  .Ma- 
son s   technics.' 

Composition,  a  musical  work.  The  art  of 
composing  music. 


a  aie,  a  aM,  ii  arm,  e  eve,  6  end,  I  ice,  \  ill,  o  old,  6  odd,  6  dove,  00  moon,  u  lute,  il  but,  U  Fr.  sound 

13 


CON 


DICTIONARY. 


COU 


Con  (Ital.  konl,  with.     Coil  Bl'io.  with  spirit. 

Concert,  a  musical  entertainment  deriving  its 
name  from  the  concert  of  the  musicians. 

Concerto  (Ital.  kon-tshiir  -to.  Ger.  Concert, 
kon-sairt).  A  solo  piece  for  some  instrument, 
with  orchestral  accompaniment.  Classical 
concertos  are  written  in-sonata  form. 

Concertante  (Ital.)     In  style  of  a  concerto. 

Concei'tini  (kon-sur-tee -nat.  A  portable 
instrument  of  the  accordeon  family.  Is  hex- 
agonal in  shape,  a  key-board  at  each  end, 
and  an  e.vpaiisive  bellows  between  the  two. 
Compass  of  three  octaves,  capable  cf  great 
variety  of  effect. 

Concerted  MlliSic.  music  in  which  several 
instruments  take  important  parts. 

Concert  lleister  (Ger.  kon-sart  mis-ter). 
The  leader  of  the  first  violins  in  an  orchestra. 

Concert  Spirituelle  (Gr.  kon-sair  spir-it- 

oo-ell  ).  Sacred  concerts.  A  famous  institu- 
tion in  France,  consisting  of  ''sacred"  con- 
certs on  Sunday  evenings  in  the  opera  house. 
From  1725  to  1791. 

Concert  Pitch,  the  pitch  usual  at  concerts — 
slightly  higher  than  the  ordinary  pitch.  See 
"diapason."' 

Concone.  Guiseppe  (gwe-sep'-pe  kon-ko -ne), 
a  well-known  Ital'an  composer  of  songs  and 
e.xercises  ;  best  known  by  these  and  his  duets. 
Born  at  Turin,  1810.     D,  1861. 

Concord,  see  consonance. 

Condnctor.  director  of  a  concert.  It  is  the 
conductor's  duty  to  study  the  score,  correct 
the  parts  and  see  that  they  are  clearly 
marked,  beat  time  for  the  orchestra  and  cho- 
rus at  rehearsal  and  performance,  and  gen- 
erally be  responsible  for  the  due  interpretation 
of  the  composer's  intentions. 

Consecutive  Fifths,  parallel  progression 
of  two  voices  at  the  interval  of  a  fifth.  Uni- 
versally forbidden,  e.xcept  an  imperfect  fifth 
following  a  perfect. 

Consecutive  Octaves,  parallel  motion  of 

two  voices  at  the  interval  of  an  octave.  Ad- 
missible when  intended  for  strengthening  a 
melodic  phrase.  The  doublings  which  occur 
in  the  performance  of  a  full  score  are  unob- 
jectionable if  the  four-part  harmony  is  pure. 

Consequent,  the  more  or  less  exact  imitation 
of  an  antecedent.  The  second  or  concluding 
section  in  a  period.  (See  Lessons  .\,  xi  and 
xii.) 

Con  Sordini  (Ital.kon  sor-dee -nee).  With 
mutes.     See  Sordino. 

Conservatory,  an  institution  for  preserving 
and  fostering  musical  culture.  The  principal 
conservatories  in  Europe  are  those  at  Leipsic, 
Stuttgart,  Frankfort-on-the-Main,  Paris, 
Berlin,  etc. 

Consonance,  the  agreeable  relation  of 
sounds.  Consonance  depends  on  the  fre- 
quency of  coincident  vibrations  in  the  conso- 
nant tones.  The  most  perfect  consonances 
are  the  octave  2-1,  the  fifth  3-2,  the  fourth 
4-3,  the  maj.  thii'd  5-4,  the  minor  third  6-5, 
ete. 

Contra  Bass,  the  double  bass,  the  largest  of 
the  violin  family.  Also  the  name  of  a  16  ft. 
crgan  stop  of  metal  pipes. 


Contra  I>ance,  country  dance.  An  English 
dance,  in  2-4  or  6-8  time,  consisting  uni- 
formly of  eight  measure  phrases.  Derives 
Its  name  from  the  dancers  being  arranged 
over  against  one  another  (centre^ .  A  series 
of  five  or  six  contredances  form  a  Qijadrille. 

Contra  FagOtt  (Ger.)     The  double  bassoon. 

Contralto  (Ital.)  The  lowest  female  voice, 
distinguished  by  depth  and  fullness  of  Ihe 
chest  registers.  The  head  register  is  com- 
monly difficult  of  use. 

Contrary  Motion,  a  contrapuntal  term  sig- 
nifying the  movement  of  two  voices  in  oppo- 
site directions,  up  and  down. 

Cor,  orCornO   (Ital.  kor -no).     A  horn. 

Cor  Anglais  (Fr.  kor  an-gla).  English  horn, 
a  tenor  oboe.  It  has  a  wailing  and  melancholy 
tone. 

Corda  (Ital.  kor-dal,  a  string,  or  chord,  l^na 
Cord  a,  one  string  ;  i.  <?.,  with  the  soft  pedal. 

Corelli.  Arcangelo  (ar-kan-gel-o  kor-ell'ee), 
an  Italian  violinist  and  composer,  born  1653, 
died  1713.  Author  of  many  pleasing  and 
melodic  pieces  for  violin  and  string  quar- 
tettes. 

Cornet,  a  brass  instrument  of  the  sax-horn 
family,  with  three  valves.  Also  an  organ 
stop  of  the  '■  mixture"  family,  which  see. 

Coi'O  (Ital.  kO  -ro).     A  chorus. 

COSi  Fan  Tutti   (kO -see  fan  tootee).       An 

opera  buffa  in  two  acts,  libretto  by  Da  Ponte, 

music  by  Mozart.      1790. 

Costa,  Sir  Michael  (mik- ell  kos -la\  the  cele- 
brated English  conductor,  born  at  Naples  in 
tSio.  The  composer  of  a  number  of  operas. 
Costa  became  director  of  the  Italian  opera  in 
London  in  1S33.  Author  of  two  oratorios, 
"  Eli  "  and  "  Naaman,''  etc.,  etc. 

Cotillon  (Fr.  ko-til  -yon).      A  country  dance. 

Cottage    Piano,  an  upright  piano-forte. 

Counterpoint,  the  "  art  of  combining  melo- 
dies," or  of  composing  one  or  more  independ- 
ent melodies  capable  of  serving  as  accom- 
paniment to  a  given  subject  called  the  cantt)s 
yerjinis.  See  Lesson  v.  Double  counterpoint 
is  one  which  may  be  inverted  in  the  cctave, 
tenth,  twelfth,  etc  ,  without  giving  rise  to 
faulty  progressions.  The  interval  of  the  in- 
version gives  the  name  to  the  counterpoint,  as 
"of  the  octave,"  "  of  the  icth,"  "  the  12th,'' 
etc.  The  best  practical  tieatises  on  C.  are 
tho.se  of  Ritcher,  Lobe,  and  Dr.  Bridges. 

Counter  SUh.ject,  the  principal  counterpoint 
to  the  "subject'  in  fugue.  Each  voice  on 
completing  the  subject  takes  up  the  counter- 
subject,  while  the  answering  voice  takes  the 
subject  (or  answer). 

Couperin,  Frangois,  called  "  Le  Grande,"  a 
French  composer  of  clavecin  music,  who  exer- 
cised important  influence  on  his  successors. 
166S-1733. 

Coupler,  a  mechanical  device  for  connecting 
the  keys  of  two  key-boards  on  an  organ  so 
that  they  may  be  played  as  one.  The  usual 
couplers  are  "swell  to  great,"  "choir  to 
great"  (played  from  "great  "^,  "swell  to 
choir''  (played  from  "choir''>,  "swell," 
"great,"  and  "choir  to  pedals"  (played 
from  pedals).  There  are  also  super-octave 
and  sub-octave  couplers  acting  on  another 
octave  of  the  attached  key-board. 


a  ale,  a  add,  a.  arm,  e  eve,  e  end,  i  ice,  K  ill,  o  old,  6  odd,  6  dove,  00  moon,  u  lute,  u  but,  u  Fr.  souna 

14 


cou 


DICTION  A  liV. 


DAI. 


<"OHraiite  (Fr.  koor-ant  ,  from  cotirir.to  run). 
A  dance  of  French  origin  in  3-2  time,  quick 
movement. 

2.  The  Italian  courante  is  more  rapid,  in 
running  passages  allegro  or  allegro  assal  in 
3-8  or  3-4  time.  The  second  movement  in  a 
sziiie, 

Coveiit   <iiai*<lcn   Tlioater.    in    London, 

opened  Dec.  7,  1732.  Several  time;  burnt 
and  rc-built.  One  of  the  two  principal  opera 
houses  in  London. 

Coweu,  Frederic  Hymen,  born  at  Jamaica  Jan. 
29,  1852.  Author  of  several  operas  and  many 
popular  songs.     Lives  in  London. 

Co.v  ami  Box,  a  musical  farce  by  Sir  \.  Sul- 

livaji. 

Covered  Fifthw.  an  implied  parallelism  by 
fifths,  produced  by  the  progression  of  two 
voices  to  a  perfect  lifth  by  similar  motion. 

Craeovieiine  (Fr.  krak-o -vee-yan).  The 
national  dance  of  the  Polish  prasantry  around 
Cracow.  It  has  a  rather  sad  melody  in  2-4 
time,  and  is  accompanied  by  singing. 

Cramer,  J.  B.  (krii'-mer),  one  of  the  principal 

founders  of  the  modern  piano-forte  school, 
born  at  Mannheim  Feb.  24,  1771.  Lived 
mainly  in  London.  Died  in  1858.  A  prolific 
composer  of  sonatas,  concertos,  etc.  Known 
now  mainly  by  his  famous  *'  studies,''  though 
these  are  losing  ground. 

Crjinier.  Henri,  a  talented  composer  of  light 
pieces,  operatic  potpourris,  etc.,  for  the  piano- 
forte. Born  1818.  Has  resided  chiefly  at 
Frankfort-on-the-Maine  and  Paris. 

Creation,  The,  an  oratorio  by  Haydn.  Pro- 
duced 1798.  .'^n  extremely  elegant  and 
melodious  work,  but  neither  "sacred"  nor 
"  sublime." 

CrertO  (Lat.  kre'-do),  "  I  believe."  The  creed. 
One  of  the  movements  in  a  mass. 

Cremona,  a  town  in  Lombardy  famous  for  its 
violin-makers,  the  Aniati,  which  see  ;  also 
Stradivari  and  Guarnerius. 

2.  Sometimes  applied  to  an  organ  stop  as  a 
corruption  of  "  krum  horn." 

Crescendo  (Ital.  kres-shen'-  do).  Increasing 
(/.   t;  ,  in   loudness).     Indicated  by  Cres,   or 


Cristof'ori  (kris-to'-fo-ree),  a  harpsichord 
maker  at  Padua,  the  inventor  of  the  piano- 
forte.    B.  1651,  d.  1731. 

Croft,  William,  Mus.Doc,  an  Knglish  composer 
and  organist  of  the  Chapel  Royal.  1677-1727. 
Buried  in  Westminster  Abbey.  Distinguished 
for  his  anthems. 

Crooks,  short  pieces  of  tubing  for  insertion 
between  the  mouthpiece  aiul  body  of  a  born, 
to  lower  the  pitch  by  lengthening  the  tube. 

Croisez.  Pierre  (pee-fir'  krois-sa  ),  a  French 
composer  of  parlor   pieces,  lessons,  etc.     B. 

1S14. 

Croteh,  William,  Mus.  Doc,  English  com- 
poser, principally  of  church  music  and  occa- 
sional "  odes."  Also  of  an  oratorio,  "  Pales- 
tine."    1775-1847. 

Croteliet,   old   English  name  of  the  quarter 

note. 
Cro>vn  Diamonds,  opera  of  .Auber,  1841. 


Criiveili.  Jeanne,  a  celebrated  dramatic  so- 
prano, who>e  debut  took  place  at  Venice  1847. 

Crwtll  (krooih).  A  Welsh  instrument  of  the 
viclin  family,  22'/,  inches  long.  \o%  to  9  inches 
wide,  and  2  inches  high.  Vcr)- ancient.  Played 

as  late  as  iSoo. 

CsardaN  (tschiir'-das).  A  national  dance  of 
Hungary,  in  two  movements,  an  andante  an<l 
allegro.  Liszt's  Hungarian  Rhapsodies  are 
founded  on  old  csdrdiis. 

Cnrselinian.  Karl  F.,  bom  at  Berlin.  June  21, 
1805.     Died  1841.     A  popular  song-writer. 

Curwen,  Rev.  John,  the  R'eat  educator  and 
apostle  of  the  Tonic  Sol-Ka  method  of  sing- 
ing. Was  Ijorn  at  Heckmondwikc  in  Vork- 
shire,  Nov.  14,  1816.  He  was  educated  lor 
the  ministry,  but  in  1844  his  attention  w.is 
attracted  by  Sliss  Glover  s  school  at  Norwich, 
and  he  set  about  claboiating  the  system  of  the 
Tonic  Sol-Fa  (which  secj.  Its  success  was 
wonderful,  and  in  1862  he  established  the 
T.  S.-F.  College  for  the  education  of  tcai  hers. 
Mr.  Curwen's  labors  had  the  eflTect  of  intio- 
ducing  hundreds  of  thousands  of  singers  in 
England  to  the  oratorios  and  cantatas  f if  .Men- 
delssohn, Handel  and  Bach,  who  otherwise 
would  never  have  known  them.  He  was  es- 
sentially an  organizer  and  teacher.  Died  May 
30,  1880,  in  London. 

4'zar  nnd  Xiniinerman.  Czar  and  Carpen- 
ter, iipLra  nf  1,  .rtzing,  founded  on  the  story 
of  Peter  the  Gieat.      1S54. 

Cymbals,  a  Turkish  instrument  of  percussion, 
con^>iing  of  two  thin  circular  metal  plates. 

Cyelie  Form.S.  such  as  the  suite,  sonata,  can- 
tata, etc.     See  Lessons  xvi  and  xxvi. 

Cytlier,  see  Zither. 

I'ieerny,  Karl  (tchiir'-nT),  an  excellent  piano- 
forte teacher  and  composer  at  Vienna.  1791- 
1857.  Among  his  pupils  wire  Beiilioven's 
nephew  and  Franz  Liszt.  He  was  modest  and 
simple  in  his  manner  of  life,  and  gentle  in 
manners.  C.  composed  an  immense  .imount, 
little  of  which  has  artistic  vilue.  His  once 
famous  "studies''  are  rapidly  falling  into 
disuse.  They  do  not  prepare  for  the  roman- 
tic school  of  piano-forte  music,  nor  even  for 
Beethoven. 

D,  key  of,  consistsof  the  tones  D,  E,  F  sharp,  G, 
A,  B,  C  sharp,  D. 

I>a  (Ital.  dii,  also  compounded  with  the  article 
lidl^  iinll(i),  from,  from  the,  through,  etc.  Da 
Capo,  from  the  beginning. 

I>a  <'a|>o  al  Fine   (dii  kii'-po  iil  fr-'-ni'i, 

from  the  beginning,  ending  at  the  word /'7ft<'. 

Daetyl  idak-ill).  .\  poetic  foot  (—  ■-'  - ). 
Ex.  :   Brightest  and  |  best  of  the  |  sons  of  the 

I  morning  ^-'  |  . 

Daetj  lion  (dak-tll'-Ion*.  An  apparatus  de- 
signed fjr  strengthenii  g  tile  fingers  in  piano 
praijtice,  invented  by  Henri  Hertz,  but  now 
disused.  It  consisted  of  a  wooden  bar  paral- 
lel with  the  keys,  and  from  this  were  sus- 
pend, by  elastic  bands,  rings  tlimuyh  which 
the  fingers  were  pasvcd,  so  that  in  pressing  the 
keys  increased  force  had  to  be  employed  in 
order  to  overcome  the  pull  of  the  clastic  cords. 

Dal    Setcno   (Ital.   dal   san -y<"i> 
sign  ;  /.  1-.,  return  to  the  sign 
as  far  as  the  word  Fine 


Fr^m   the 
;n  ^^  and  repeat 


a  aie^  a  add^  ii  anity  e  e-ie,  5  end,  i  ice,  I  ///,  o  old,  o  odd.  <">  ,i,':'r. 


00    Ulih'll.    U 


DAM 


DICTIONARY. 


DIA 


Dame  Blanche,  La  (diim  bliinshi.  The  White 
Lady.  Opera  coinique  lu  3  acts  by  Boieldieu, 
the  hbretto  by  Scribe,  founded  on  Scott's 
"  Monastery."  1825.  Played  the  loooth  time 
Dec.  16,  1862. 

OaillI>.  to  extinguish  a  vibration  by  pressing 
upon  the  string. 

i>aiHl>er!S.  cushions  of  felt  resting  on  the 
strings  of  the  piano-forte  in  order  to  prevent 
vibration.  When  a  key  is  pres-ed  the  corre- 
sponding damper  rises  ;  when  the  key  returns 
to  its  place  the  damper  falls  on  the  string  and 
extinguishes  the  tone. 

I>ailiper  Pedal,  or  simply  Pedal  or  Ped.,  a 
mechanisdi  in  the  piano-torte,  commonly  but 
improperly  known  as  "  loud  pedal,"  which 
raises  all  the  dampers  at  once,  thus  allowing 
the  vibrations  of  the  strings  to  continue  until 
gradually  extinguished  by  the  resistance  of 
the  particles. 

Daiiee  lllisie,  music  to  dance  by,  or  to  sug- 
gest dancing.  All  musical  forms,  except  reci- 
tative, had  their  origin  in  dances  or  songs. 

Oaiinreiltlier,  Edward  fdiin-roit'-er),  born 
at  Strassbourg    Nov.  4,  1S44.      When  5  years 

»  old  moved  to  Cincinnati,  O.  Began  his  studies 
under  Dr.  F.  L.  Ritter,  and  continued  them 
brilliantly  at  Leipsic,  where  he  held  all  the 
scholarships.  Settled  in  London  in '64,  where 
he  '■  holds  a  high  position  as  piano-forte 
player,  teacher,  litterateur,  lecturer,  and  a 
strong  supporter  of  progress  in  music."  D. 
translated  Wagner's  "  Music  of  the  Future." 

I>avl(l,  Felicien  (da-veed),  one  of  the  most 
prominent  French  composers.  Born  at  Ca- 
denet  in  1810.  Died  Aug.  29,  1876.  David 
was  laborious  rather  than  gitted.  His  most 
successful  work  was  his  "Desert"  1844,  an 
"  ode-symphony,"  a  descriptive  piece  in  three 
parts,  partly  vocal  and  partly  instrumental. 
His  other  ereatest  works  are  '"  Lalla  Rookh  " 
and  a  popular  comic  opera,  "La  Perle  du 
Brasil"  1851. 

David.  Ferdinand,  the  celebrated  violin  teacher 
at  Leipsic.  Was  born  Jan.  19,  iSio,  and  died 
1S75.  D.  was  a  great  friend  of  Mendelssohn, 
and  was  by  him  appointed  concertmeister  of 
the  G"wandhaus  orchestra  in  1836,  a  position 
he  held  until  his  death.  As  a  teacher  David 
was  strict  but  inspiring.  Among  his  pupils 
are  nearly  all  the  prominent  violinists  of  the 
present  day,  foremost  of  them,  of  course,  be- 
ing Joachim  and  Wilhelmj.  As  a  virtuoso  he 
was  one  of  the  most  solid,  and  as  a  leader  he 
had  the  rare  quality  of  holding  together  and 
animating  the  orchestra.  D.  edited  with  ad- 
ditional marks  of  expression  and  traditional 
nuances  almost  the  entire  classical  reper- 
tory for  the  violin  (Edition  Peters).  "  He 
was  particularly  fond  of  intellectual  pursuits, 
was  eminently  well-read,  full  of  manifold 
knowledge  and   experience." 

Davidde  l*eilitante.  II,  a  cantata  for  three 
solo  voices,  chorus  and  orchestra,  by  Mozart, 
1785. 

Davidsbtieildler  (da'-vids  bind-!er).  An 
imaginary  association  of  Schumann  and  his 
friends,  banded  together  against  pedantry, 
"  old-fogyism  ''  and  stupidity  in  music. 

Day.  Alfred,  M.  D.,  author  of  an  imf)ortant 
theory  of  Harmony,  proposing  considerable 
changes  in  its  terminology,  some  of  which 
have  since  been  accepted.  London.  i8ro- 
1849. 


De  (Fr.  du),  or  d'.  of. 

Deborah,  an  oratorio  of  Handel's.  1733.  No 
less  than  14  of  its  airs  and  choruses  are  trans- 
ferred Irom  other  works  of  Handel. 

Debutant  (Fr.  dii-bU-tahn).  One  who  makes 
a  first  appearance. 

Debut  (  Fr.  da -bu).     A  first  appearance. 

J>eeani  (Lat.  da-ka  -nee).  Used  in  antiphons 
to  designate  the  singers  on  the  Dean's  side 
of  the  choir,  which  in  a  cathedral  is  the  south 
side. 

Deciso  or  Decisaniente  (Ital.  de-see'  so 
or  de-see  -sa-men  -te).  Determined  ;  decided. 

Deelaniandu  (Ital.  dek-la-man -do).  In 
declamatory  style. 

Declamation,  the  delivery  of  text  with  suit- 
able emphasis  and  intelligence. 

DecrescendO  (.Ital.  da-kre-shiin  -do).  De- 
creasing;   with   gradually  diminishing  force. 


Degrees,  of  the  Staff,  eleven  in  number, 
viz.:  the  five  lines  andsi.x  appiriaining  spaces. 

Degrees  in  llnsic,  are  two.  Bachelor  and 
Doctor.  The  former  is  conferred  only  on  ex- 
amination and  proof  of  fitness.  (See  Bache- 
lor.) Doctor  is  also  conferred  on  examination 
at  Oxford  and  Cambridge,  but  in  this  country 
as  an  honorary  distinction. 

Delln.  Siegfried  Wilhelm  (diin),  a  teacher  of 
harmony,  musical  writer,  and  editrr  of  many 
of  Bach's  works.  Born  at  Altona  1796.  Died 
at  Berlin  1858. 

DeliberatO  (dii-lee -ba-ra'-to\  Deliberately. 

Delioux.  Charles  (del'-I-ooj.  A  French  pian- 
ist and  composer. 

Delicato  or  Con  delicatezza  (del-i-ka - 

to  or  del-i-ka-ted  -za).     Delicately,  or  with 
delicacy. 

Demi-senii-quaver.  a  thirty-second  note. 

l>e|)I)C,  Ludwig  (lood'-vig  dep  -pe),  a  distin- 
guished conductor  and  teacher  of  music,  and 
especially  of  the  piano-forte,  concerning  which 
he  holds  many  new  theories,  or,  as  his  ene- 
mies think  them,  "'  hobbies."  Born  Nov.  7, 
1828. 

Des  (Ger.)     D  flat. 

Destra  (Ital.),  right.    Mano  destra,  the 

right  hand. 

Dettingen  Te  Denm  (det'-tn-gen\  writ- 
ten by  Handel  to  celebrate  the  victory  at 
Dettingen,  1743. 

Dens  llisei'Catnr,  "  God  be  merciful  unto 
us,"  Psalm  Ixvii. 

Deux  Journees.  Les,  comedy  lyric  in  3  acts. 
Music  by  Cherubini.  1800.  Known  in  Ger- 
many as  "  Der  Wassertrager,"  and  in  English 
"  The  Water-Carrier."  Beethoven  thought 
the  book  of  this  opera  the  best  in  e.xistence. 

Devrient.  Eduard  Phillip,  a  distinguished 
baritone-singer  and  musician,  and  a  particu- 
lar friend  of  Mendelssohn.  Born  at  Berlin 
1801. 

Devil's  Opera,  in  two  acts.  Music  by  G.  A. 
Macfarren.      183S. 

Diabelli.  Anton  (dee'-a-bel-li),  head  of  the 
firm  Diabelli  &  Co.,  music  publishers  in 
Vienna,  and  composer  of  piano-forte  and 
church  music.  Born  at  Salzburg  Sep.  6, 1781. 
Died  1S58. 


a  iiUy  a  at£d,  a  nnii^  §  eve,  e  end,  1  ice,  1  ii/,  o  old,  6  odd,  o  dove,  00  moon,  w  lute,  u  but,  U  Fr.  sound 

16 


DIA 


DICTIONARY. 


DUL 


I>iaiiiaiits  <le  la  <'oiivoiiii«>.  Les,  "The 
Crown  Diamonds,"'  comic  opera  in  3  acls. 
Words  by  Scribe,  music  by  Auber.     1841. 

DiapaMOU  (di-ii-pa'-son).  Originally  meant 
throngh  an  octave.  In  French  it  means 
"standard  of  pitch.''  In  English,  the  name 
of  the  most  important  stop  in  an  organ.  (See 
Organ.) 

I>iat<>ni(*.  "through  the  tones,"  /.  c,  through 
tlie  tones  proper  to  the  key  without  employ- 
ing chromatics.  Applied  to  scales  and  to 
melodies  and  harmonies. 

l>ibclill.  Charles,  an  English  actor,  singer,  and 
prolilic  composer  of  popular  stage  pieces, 
among  which  are  some  60  operas,  etc.     1745- 

18:4. 

Diotioiiariesii  of  Music.  The  best  are  the 
large  Oerman  Conzu-rsations  -  Lexicon  of 
Mendel  (11  vols.);  ^'  Biographic  U^tiverselle 
des  Musiciens,"'  by  J.  L.  Fetis  (8  vols.  8  vo.), 
and  Grove's  "Dictionary  of  Musicians''  (a 
vols,  large  8  vo.,  Macmillan  &  Co.,  1879-80), 
to  which  the  present  summary  is  largely  in- 
debted. 

Wipsis.  a  very  small  i'lterval,  about  an  eighth 
of  a  tone.  Its  ratio  is  125-12S.  It  occurs  be- 
tween two  tones,  one  of  which  is  tuned  a  per- 
fect octave  to  a  given  bass,  and  the  other 
three  perfe  ,t  major  thirds  above  the  same  bass- 
Dies  Ira?  (de  az  e-iii).  "  Day  of  Wrath," 
a  celebrated  old  Latin  hymn,  which  is  the  sec- 
ond number  in  the  Mass  for  the  Dead. 

Dilettante  (Ital.  deel-a-tant -a,  from  licii- 
tare,  to  love).  One  who  feels  an  especial  in- 
terest in  an  art  without  making  it  his  principal 
business.  Also  used  in  an  unfavorable  sense, 
of  one  vi\\o  prt'tends  to  a  considerable  knowl- 
edge of  dn  art  which  he  ha.s  never  learned. 

Diniinislied  Intervals,  those  derived  from 

minor  or  perfect  intervals  by  chromaiic  dim- 
inution ;  e.  g.^  perfect  lifih,  C  G  ;  diminished 
fifth,  CG^. 
Diminution,  a  term  used  in  counterpoint  to 
denote  the  repetition  of  a  subject  in  notes  of 
less  value,  as  halves  by  quarters,  etc. 

l>iniinuen<lo  (Ital.  dim-in-oo-an'-do).  Di- 
minishing in  power. 

Dinorah  (dee  -no-r!i).  The  Italian  title  of 
Meyerbeer's  opera,  otherwise  known  as  "  Le 
Pardon  de  Ploermel,'"  in  3  acts.     1859. 

Direct,  a  jnark  formerly  used  at  the  end  of  a 

page  in  music  to  warn   the  player  of  the  first 
note  over  the  leaf. 

Direct  iflotion.  motion  of  pans  in  harmony 
in  similar  direction. 

l>is  (Ger.)     D  sharp. 

I>iscailt,  originally  the  counterpoint  sung  with 
a  plain  song.  Thence  the  upper  voice  in  part 
music.     In  earlier  English,  air. 

Discor«l,  the  inharmonious  relation  of  sounds. 
I),  depends  on  the  want  of  common  measure 
between  the  two  sets  of  vibr.ilions  producing 
the  discord.  D.  and  dissonance  are  often 
used  as  synonymous,  but  not  properly.  The 
latter  is  a  discord  properly  introduced  and  re- 
solved. 

Dissonance,  a  discord.  A  combination  of 
notes  which  on  sounding  together  produce 
beats.     (See  Discord.) 


l>iNSOluto  I'unitO.  II  Ossia  il  Don  Giovan- 
ni. I-  nil  title  of  Mo/art's  famous  opera  now 
known  by  the  last  part  of  its  name.  See  Don 
Giovanni. 

Dittersdorf,  Karl  Dirtcrs  von,  a  distin- 
guished violinist  and-  prolific  composer  of 
operas,  popular  i:i  their  day,  and  an  intimate 
friend  of  GlUck  and  Haydn.  IJorn  at  Vienna, 

1739.      Died  1799. 

Divertimento  (Ital.  dee-var-tee-miin'-to). 
Divcrtisement.  A  name  given  by  Mozart  to 
22  suits  of  pieces,  ranging  from  4  to  10  move- 
ments each,  for  strings,  wind  and  strings,  and 
various  chamber  combinations. 

Divertissement  (Fr.)  The  same  as  the  pre- 
ceding. Applied  to  a  kind  of  short  ballet; 
also  to  potpcHirris. 

Divise  (Fr.  de-vec -sii).  Divided.  Used  in 
scores  where  the  1st  violins  or  soprani  are  di- 
vided into  an  upper  and  lower  part. 

D  Major,  a  key  containing  the  tones  D,  E,  F 
sh.irp,  G,  A,  B,  C  sharp,  D. 

I>  Minor,  a  key  containing  the  tones  D,  E,  F, 
G,  A.  Viby  C  sharp,  D.  The  relative  minor  of 
F  major. 

Do  (do).  The  syllable  applied  to  the  first  tone 
of  the  scale  in  sol-faing. 

Doctor  of  niusic.  the  highest  honorary  de- 
gree in  music.  The  candidate  at  O.xford  or 
Cambridge  must  pass  an  e.Yamination  ia  Har- 
mony, Eight-part  Counterpoint,  canon  and 
imitation  in  eight-parts.  Fugue,  Form,  In- 
strumentation, Musical  Histor)-,  a  critical 
knowledge  of  the  scores  of  the  standard  works 
of  the  great  composers,  and  so  much  of  the 
science  of  Acoustics  as  relates  lo  the  theory 
of  Harmony.  An  "  Exercise"  is  lequired  in 
advance,  which  may  be  sacred  or  secular,  in 
good  eight-part  fugal  counterpoint,  with^nc- 
companiments  for  full  orchestra,  of  such  length 
as  to  occupy  from  40  to  60  minutes  in  perform- 
ance. After  passing  the  previous  examination 
the  candidate  must  have  his  composition  pub- 
licly performed  with  orchestra  and  chorus  in 
Oxford  or  Cambridge  at  his  own  e.xpense,  and 
deposit  the  MS  full  score  in  the  library  of  the 
Music  School.  The  fees  amount  to  about  C10. 

Dolller.  Theodor  (duh-ler),  of  a  Jewish  fami- 
ly, born  at  Naples  1814.  Died  at  Florence 
1S56.  An  accomplished  pianist  and  composer 
of  salon  music. 

P>OiSte  (Fr.  doig -ta,  cfoigter,  to  finger*. 
Fingered  ;  /.  e  ,  the  proper  finger-application 
marked. 

Du'rin^;.  Karl  Heinrich  vdt'j  -ring),  an  eminent 
composer  and  pianist  of  the  present  time. 
Born  1S34  at  Dresden.  D.  is  author  of  pieces 
in  various  departments  ;  piano  pieces,  masses, 
songs,  and  articles  about  music. 

Dolby,  see  Sainton-Dolby. 

Dolce (It.il.  di")! -cheV  Sweetly.  Alsothcname 
of  an  extremely  soft  8  ft.  string-toned  organ 
ston. 

DolcissimO(Ital.dril-checs'-I-m<j).  Superla- 
tive of  the  preceding. 

Dolente  (Ital.  dO-ISn'-tS,  also  doUntatiifiite, 

iii>/fiitissiwo,  con  dolorr^  con  duolo,  all  01 
which  mean  substantially  the  same  thing'. 
In  a  plaintive,  sorrowful  style  ;  with  sadness. 

Doioroso(Ital.  do-lor-o  -so).    Grievingly. 


il  ah,  a  add^  a  arm,  e  C7>e,  5  end,  I  ice.  \  ill,  0  old,  0  odd,  0  dove,  00  moon,  u  lute,  u  but,  U  Fr.  sound 


17 


DOM 


DICTIONARY. 


DRO 


Doni  Choir  (dom).  The  cho'r  of  the  dom  or 
cathedral  church.  The  three  celebrated  evan- 
gelical choirs  of  this  name  in  Germany,  are 
those  of  Berlin,  Hanover  and  Schwerin. 

l>Oniiliant  (dom-in-ant).  Ruler.  The  name 
now  given  to  the  fifth  tone  of  the  key,  count- 
ing upwards  from  the  tonic.  The  U.  is  the 
key  next  in  importance  after  that  of  the  tonic, 
and  is  the  one  into  which  modulation  is  first 
made. 

DoiUMlO  Hfoir,  Le  (dom'-in-o  nwar).  The 
Black  Domino.  Opera  coinique  in  3  acts. 
Words  by  Scribe.     Music  by  Auber.     1837. 

Donizetti,  Gaetano  (ga-ta  -n5  don-T-zef-ti), 
one  of  the  most  distinguished  Italian  com- 
posers of  light  operas.  Born  at  Bergamo  1798. 
Died  1848.  D.  was  a  composer  highly  gifted 
with  melody  and  with  sparkling  sentiment,  as 
well  as  with  a  certain  amount  of  dramatic 
ability.  His  success  was  early  and  decided, 
and  lasted  all  his  life.  His  principal  operas 
were  "Anna  Bolena  "  1831,  "  Elisir  d'  Amor  " 
1829.  "■  Lucrezia  Borgia"  1834,  "Lucia  di 
Lammermoor  "  183=;,  "  Belisario  "  1836,  "  Po- 
liuto"  1838,  "  La  Fille  du  Regiment,"  1840, 
"  La  Favorita''  1842,  "  Linda  de  Chamounix' 
1842,  "  Don  Pasquale  ''  1843. 

Don   Carlos,     i.  Opera   seria   in   3    acts,  by 
•   Costa,  1844. 

2.  Grand  opera  in  5  acts,  by  Verdi,  1S67. 

Don  Giovanni  (don  jo-van'-ee,  in  German, 
"Don  Juan").  Opera  buffa  in  2  acts  by 
Mozart.  Produce  1  at  Prague  Oct.  29,  1787. 
(The  overture  written  the  night  before.) 

Don  Pasquale  (pas-kwal-a).  Opera  buffa 
in  3  acts,  by  Donizetti,  1843. 

Don  Quixote  (ke-ho'-ta).  Comic  opera  in 
2  acts,  by  G.  A.  Macfarren,  1846. 

Donna  del  Liago,  La  (la  -go).  The  Lady 
of  the  Lake.  Opera  in  2  acts.  Music  by  Ros- 
sini, iSig. 

Doppel  Sehlag  (Ger.)     A  Turn,  which  see. 

DOppiO  (Ital.)  Double;  e.  g.^  doppio  movi- 
inento^  at  double  the  movement — twice  as 
fast ;  doppio pedale^  with  pedals  doubled. 

Doppel  Flote  (Ger.  dop'-pelfl(it-a).  Double 
flute.  An  organ  stop  composed  of  wooden 
stopped  pipes  with  two  mouths. 

Doric  mode,  or  l>orian,  a  church  mode 
from  D  to  D  in  naturals.  Many  old  German 
chords  are  written  in  this  key,  as  "  Vater 
unser,"  "  Wir  glauben  all,"  etc. 

Dorn.  Heinrich  (Ludwig  Edmund),  a  musician 
of  the  present  in  Germany.  Born  at  Kijnigs- 
berg,  Prussia,  Nov.  18,  1804.  Dorn  is  one  of 
the  first  conductors  of  his  day,  a  melodious 
con>poser  of  operas  (10  in  nuniber),  many 
symphonies,  overtures,  piano-forte  pieces,  etc. 

Dot,  a  point  placed  after  a  note  to  indicate  that 
its  length  is  to  be  increased  one  half.  A  sec- 
ond dot  adds  half  as  much  as  the  first. 

Double  Dot,  two  dots  after  a  note,  adding 
three-fourths  to  its  value. 

Double  Bar,  two  lines,  or  one  heavy  liiie, 
across  the  staff  to  indicate  the  end  of  a  strain, 
or  of  hue  of  text  in  church  music.  'I'he 
double  bar  does  not  properly  have  any  refer- 
ence to  measure. 

Double  (Fr.)  A  turn.  Also  an  old  name  for 
variation. 


Double  Bass,  the  violon,  the  largest  of  the 
violin  family. 

Double  Chorus,  a  chorus  for  two  choirs  and 
eight-parts  ;  as,  e.  g.^  in  Handel's  "  1-racl  in 
Egypt." 

Double  Concerto,  a  concerto  for  two  in- 
struments at  once. 

Double  Flat,  hh,  two  flats  before  the  same 
note,  representing  a  depression  equ^l  to  two 
Semi-tones,  Mbb  being  the  same  on  the  piano 
as  A  natural. 

Doullle  Fugue,  a  fugue  on  two  different 
subjects  which  are  afterwards  combined  and 
worked  together. 

Double  Mouthed,  an  organ  pipe  liaving  two 
mouths,  in  front  and  rear. 

Double  Tonguing,  a  method  of  articulating 
applicable  to  flutes  and  cornets.  Effective  in 
staccato  passages,  but  requires  long  practice. 

Double  Sharp,  .r,  a  character  representing 
a  chromatic  elevation  equal  to  two  semi-tones. 

Dowland,  John,  Mus.  Bac.,an  English  com- 
poser and  musician,  author  of  many  books  of 
songs  and  airs.     1562-1626. 

Down  Beat,  the  downward  motion  of  the 
hand  in  beating  time,  marking  the  beginning 
of  the  measure. 

I>rag;onetti,  Domenico  (do-men  -ee-ko  drag- 
on-net-tee), one  of  the  greatest  known  per- 
formers upon  the  double  bass.  Born  at  Venice 
in  1755.  A  friend  of  Haydn,  Beethoven, 
Sechter,  the  theorist,  etc.  D.,  at  the  age  of 
90,  headed  the  double  basses  at  the  Beethoven 
lestival  at  Bonn,  in  1845.  Died  in  London, 
1846. 

I>rania,  a  play  for  the  stage. 

DraiUUiatico  (It.)  In  dramatic  style  ;  i.e.^ 
with  forcible  and  effective  expression. 

Drei  (Ger.  drii.     Three. 

Dressel,  Otto  (dra  -sel),  a  refined  and  elegant 
pianist  and  highly  cultivated  and  poetical 
musician,  born  at  Andernach-on-the-Rhine 
in  1826.  He  made  his  higher  studies  with 
Fr.  Hiller  in  Cologne,  and  Mendelssohn  at 
Leipsic.  Came  to  Boston  1852,  where  he  has 
ever  since  resided,  and  where  his  influence 
has  been  highly  im.portant.  Has  composed 
much  piano-forte  music,  as  well  as  songs, 
chamber  quartettes,  etc. 

Dreyschock,  Alexander  (dri'-shok),  born  at 
Zachi,  in  Bohemia,  Oct.  15,  i8i8.  Died  in 
Venice  1869.  Dreyschock  was  an  extremely 
correct  and  remarkably  brilliant  virtuoso 
pianist.  He  traveled  throughout  Europe, 
giving  concerts  with  great  success,  for  about 
twenty  years,  after  which  he  settled  at 
Prague  as  a  teacher.  Among  his  American 
pupils  were  Nathan  Richardson  (about  five 
years),  and  Wm.  Mason  (one  year). 

Droit  (Fr.  drwiit).  Right.  Main  droite^  right 
hand. 

Drone,  the  name  given  to  the  three  lowest 
pipes  of  the  bag-pipe,  which  sound  continu- 
ally while  the  instrument  is  being  played. 
They  usually  give  two  octaves  of  the  key-note 
D,  and  the  fifth  A. 

Drouet,  Louis  F.  P.  (droo-a),  one  of  the  most 

famous  flute-players   and  composers  for  the 
flute.     Born  at  Amsterdam  1792.     Died  1873. 


a.  ale^  a  add,  ii  arm,  e  eve,  e  end,  \  ice,  i  ///,  o  old,  0  odd,  o  dove,  00  moon,  \\  lute,  u  but,  ii  Fr.  sound 

18 


Dur 


DICTKJ.NAllV. 


SG3I 


I>ruill.  Drums  are  of  several  kinds  ;  (i )  a  sinele 
skui  on  a  frame  or  vessel  open  at  bottom  as 
the  lambounne,  Kgyptian  drum.  etc.  •  (21  a 
single  skin  on  a  closed  vessel,  as  Kettledrum  • 
(3)  two  skins,  one  at  each  end  of  a  cylinder 
as  the  side-drum,  snare-drum,  etc.  ' 

»  String,  the  third  open  string  on  the  violins, 
the  seconii  on  tenors,  violoncellos,  and  three- 
stringed  double  basses,  and  fourth  on  the 
guitar. 

I>uet  (du-et').     A  piece  of  music  for  two  ,>cr- 

lormers. 

l>HettO  (Ital.  du-et'-to).     A  duet. 

I>uettillo  (Ital.  du-et-ee'-no).     A  little  duet. 

J>UloiiUia  (dul-si-un  -a).  An  organ  stop  of  a 
sweet,  stnng-like  quality  of  tone.  In  the 
great  or  choir  organ  for  accompanying  solos 
in  the  swell.  •■     ■>     b 

DuIoillliT,  a  trapeze-shaped  instrument  of 
about  three  feet  in  greatest  width,  strung  with 
tine  brass  or  iron  wires,  from  three  to  five  wires 
to  each  note.  Its  compass  was  3K  octaves, 
and  It  was  played  by  means  of  small  hammers 
held  one  in  each  hand.  The  D.  is  the  proto- 
type ol  the  piano-forte. 

Duiekon.  Madame  Louise  (dul'-ken),  a  great 
piano-forte  player,  sisterof  Ferdinand  David 
bornat  Hambur-,  March  20, 181 1.  Waspupil 
of  Grund.  Married  in  1828,  and  removed  to 
London  where  she  resided  the  rest  of  her 
life.  She  was  "an  executive  pianist  of  the 
hrst  order,  with  remarkable  brilliancy  of 
hnger,  an  intelligent  and  accomplished  wo- 
man, and  a  very  successful  teacher.'  Queen 
Victoria  was  one  of  her  pupils.  Died  April 
12,  1850. 

Dllleken,  Ferdinand,  son  cf  the  preceding, 
born  at  London  about  1837.  Taken  by  .Men- 
delssohn 10  Leipsic  at  an  early  age,  where  he 
W4s  educated  under  the  immediate  super- 
vision of  Mendelssohn  and  his  uncle,  Fer. 
David.  Dulcken  is  a  go  jd  pianist,  a  superior 
accompanist,  a  good  conductor,  and  a  remark- 
ably talented  composer  and  arranger. 

I>llO  (Ital.  du  -o).     Two,  hence  a  duet. 

I>llO  ('OlHMTtailte  (kon-tsher-tan'-te).  A 
duo  in  which  each  part  is  alternately  princi- 
p.il  and  subordinate. 

Dlipoiit.  Auguste  (dQ-pont  ),  a  prominent  Bel- 
gian piano  virtuoso  and  composer.  Horn  1828. 
Since  1853  professor  of  piano  in  the  Hrussels 
Conservatorium.  Author  of  string  quartettes, 
piano  trios  and  sonatas,  Etudes,  salon  piece-;' 
etc.  "' 

Dupre«,  Gilbert  (du-pril'),  a  famous  tenor  in  . 
Paris,   1825-1849,  and  prjfessor  of  singing  at 
the  Conservatoire,  1842-1850.      Born  1806. 

Uurcllfiioliriiiig  (Ger.  durk  -  fee  -  rung). 
Carrying  out,  or  elaboration  of  motives,  bee 
Lesson  xv. 

I>ur  (Ger.  dur).     Hard.     German  name  of  the 

m.-ijor  mode. 

I>U!«iSek,  J.  L.,  one  of  the  most  renowned 
pianists  and  composers  of  the  latter  part  of 
the  18th  century.  Born  at  Czaslaii  1761.  Died 
1812.  Author  of  many  elegant  pieces  for  the 
piano. 

I>HX  (Lat.  dfiks).     The  subject  in  fugue. 
Dtlvei'lKty.  Charles,  a   French  composer  and 
elementary  teacher  in  the  Conservatoire.     B 

1820. 


I>uv«'rnoy,  J.  B.,  a  well  known  music  teacher 
and  piuno  composer  in  I'aris.  author  of  many 
studies,  an  elementary  school,  etc. 

Dyk«^H,  Rev.  John  B.,  .Mus.  Doc.  (diks  ,  1823- 
1876.  Author  of  several  services  and  hymn 
tunes.     Vicar  of  St.  Oswald,  Durham,  ling. 

I>%viglit.  John  S.,  one  of  the  most  cultivated 
and  in  (act  for  many  years  the  leading  musi- 
cal critic  of  America,  was  born  in  1820 
Graduated  at  Harvard.  Was  one  of  the  mem- 
bers of  the  "  Brook  Farm  "  community,  and 
in  1852  founded  U\i,yourna/  0/  Music'u\  Bos- 
ton which  he  still  edits,  and  which  has  been 
perhaps  the  most  powerful  sint;le  agent  in 
awak^-ning  a  love  of  music  in  this  country. 
Mr  Dwight  IS  a  highly  cultivated  gentleman, 
and  was  educated  for  the  pulpit  ;  has  also 
evinced  the  possession  of  decided  poetic 
ability. 

I>ynailli<>.  relating  to  force,  or  power.  The 
dynamic  degrees  range  from  pp.,  the  softest 
possible,  to  ff.,  or  as  loud  as  possible. 

K  (Ital.  lit,  or,  before  a  vowel,  Ed,  and.  Also  the 
name  of  a  pitch,  which  see. 

Ear  for  MiiMi«-.  the  ability  to  recognize  and 
remember  modulated  successions  ot  sound. 

Eberl,  Anton  (u'-berl),  a  distinguished  piinist 
and  composer,  contemporaneous  with  Bee- 
thoven, and  friend  of  GlUck  and  .Mozart 
born  at  Vienna  1766.  D.  1807.  Author  of 
operas,  symphonies,  sonatas,  etc.,  all  more  or 
less  successful  in  their  day,  but  now  forgotten. 

Echo,  the  reflected  repetition  of  a  sound. 

Echo  Organ,  an  obsolete  contrivance  for 
securing  soft  effects  in  organ-playing.  The 
pipes  of  one  manual  were  enclosed  in  a  box, 
thus  giving  a  soft  and  distant  effect.  The 
addition  of  moveable  shades  or  shutters, giv- 
ing the  power  of  crescendo  or  decre.scendo, 
produced  the  swcU  organ. 

Eckert.  Karl  (6k'-ert),  violinist,  pianist,  com- 
poser and  conduc.or.  Born  at  Potsdam  1820 
Studied  with  Mendelssohn.  Composed  an 
oratorio,  "Judith"  1841.  In '51  .accompanied 
Sontag  in  her  tour  through  this  country.  At 
present  head  director  at  Berlin,  in  which  ca- 
pacity he  is  distinguished. 

Eclat  (Fr.  A-klii).  A  burst  of  applause.  Ex- 
pressions of  approbation. 

Eclogue  u'k-log).  A  poem  or  song  of  a  simple 
or  pastoral  nature.     An  idyl. 

Ecole  (Fr.  Pk-kol).     School. 

Eccos^aise  (Fr.  ek-kas-saz').     In  the  Scotch 
style.     A  dance  oiigiiially  in  3-2  or  2-4  time 
accompanied    by   the  bag-pipe.     In   modern 
form  it   is  a  species  of  coiitredance  in  quick 
2-4  time. 

Eddy.  Hiram  Clarence,  an  eminent  organ  vir- 
tuoso and  musician,  head  of  the  Hershey 
School  of  .Music,  in  Chicago.  Born  1851  in 
Greenfield,  Mass.  Pupil  of  Dudley  Buck  and 
later  of  Haupl,  of  Berlin.  .Mr.  K.  has  per- 
formed the  unprecedented  feat  of  looconsecu- 
tive  programmes  of  organ  music,  without 
repetitions. 

E  dur  (Ger.)     The  key  of  E  m.ij. 

Kgmont.  Beethoven's  music  to  Gcethe's  trag- 
edy of  that  name.  .An  overture,  2  sop.  songs, 
4  entr'acts,  Clara's  death  a  melodram,  and  a 
finale— 10  numbers  in  all,  op.  84.     1809. 


a  aie,  a  cidd^  a  «>;«,  e  eve,  6  end,  i  ice,  I  ///,  o  old,  6 

'9 


odd,  o  dove,  00  moon,  u  lute,  fl  but,  U  Fr.  sound 


EGG 


DICTIONARY. 


ENH 


Eggliaril.  Julius,  pseudonym  of  Gount  Julius 
von  Hordegan,  a  talented  virtuoso  pianist  and 
composer  of  parlor  pieces  for  the  piano.  B. 
1834  at  Vienna.  Pupil  of  Czerny.     Died  1867. 

Eguale  (Ital.  a-gwii'-le).    Equal;  even;  alike. 

£gualllient  (Ital.  a-guiil-man  -te).  Equally, 
evenly. 

Elllert,  Louis  (a'-lert),  pianist  and  composer, 
but  cbiefly  known  as  a  cultivated  critic  and 
writer  upon  music.  His  "  Letters  upon  Mu- 
sic "'  (1859,  translated  by  F.  R.  Ritter,  and 
re-printed  by  Ditson,  1870)  contain  notices  of 
the  chief  musicians  and  their  works,  and  pic- 
turesque observations  upon  them.  Also  com- 
poser of  symphonies,  etc.     B.  1825. 

Elll'lioll.  Heinrich  (hln'-rlk  ar'-llk),  a  distin- 
guished pianist,  teacher  and  wiiter,  born  1824. 
Since  about  1858  he  was  the  first  teacher  of 
piano  in  Stern's  Conservatory  in  Berlin.  As 
a  player,  is  distinguished  for  his  Beethoven  in- 
terpretations. Is  also  the  author  of  several 
successful  novels  of  a  semi-musical  character. 

Eichberg,  Julius  (ikh'-barg),  a  distinguished 
violin  virtuoso  and  teacher,  head  of  the  Bos- 
ton Musical  Conservatory  (1867),  and  for 
many  years  principal  of  musical  instruction 
in  the  Boston  public  schools.  E.  is  author  of 
two  operas,  "  I'he  Doctor  of  Alcantara"  and 
"  Rose  of  Tyrol,"  both  of  which  are  often 
given  ;  but  is  most  celebrated  for  his  success 
as  a  teacher  of  the  violin,  in  which  he  is  one 
of  the  greatest.     Born  1828  in  Diisseldorf. 

EiSenllOfer,  Franz  X.  (is'-sen-ho'-fSr),_  a 
German  song->vriter,  1783-185S.  Is  most  dis- 
tinguished for  his  songs  for  male  voices  and 
cantatas  for  the  same,  of  which  he  generally 
wrote  the  words  himself. 

Eiiie  Feste  Blirge  (ine  f es'-te  burg).  "A 
sure  defense,"  Luther's  version  of  Ps.  xlvi. 
Hymn  written  1530.  Tune  probably  1538. 
The  form  now  in  use  is  that  giveix.  by  Bach 
in  several  cantatas. 

Eisfelrt.  Theodore,  for  many  years  one  of  the 
leading  musicians  in  New  York.  Born  1816 
in  Wolfenbiittel.  Came  to  New  York  in  1848. 

Eisteddfod  (Welsh,  es-tet'-e-vodV  "  Sitting 
of  learned  men."  Musical  and  literary  festi- 
vals held  by  the  \Vel>h  in  all  parts  of  the 
world  ;  originated  in  the  triennial  festivals  of 
the  Welsh  bards  in  1078. 

Elegante  (Fr.  el-a-gan'-te).  Elegantly,  taste- 
fully. 

Elegy  (Ital.  clegia,  Fr.  elegie).  A  poem  of  sad 
and  touching  character,  generally  commemo- 
rative of  some  lamented  decease.  A  piece 
of  music  in  similar  vein. 

Elevation,  a  voluntary  suitable  for  use  at  the 

elevation  of  the  Host. 

Elevatezza  (Ital.  el-6-va-tad'-za).  Elevation, 
sublimity. 

Elijah,  an  oratorio  by  Mendelssohn,  first  pro- 
duced at  the  Birmingham  Festival,  Aug.  26, 
1846. 

Elisa,  oil  ie  Voyage  an  Mont  Bernard,  opera 
in  2  acts.     Music  by  Cherubini.     1794. 

Elisir  d'  Amorc  (a-lee-ser  _dam-or'-e). 
■'  The  Elixir  of  Love,"  opera  in  2  acts  by 
Donizetti.     1829, 


Ella,  John,  an  English  violinist,  founder  of 
the  "  Musical  Winter  Evenings,"  and  origina- 
tor of  "  analytical  programmes."  Author  of 
a  memoir  of  Meyerbeer,  and  "  Musical 
Sketches."     B.  1802. 

Elson.  Louis  C,  born  at  Boston,  Mass.,  184S, 
of  German  parents.  Studied  with  Karl  Glogg- 
ner,  Castelli,  Kreissmann,  and  others.  Is  a 
successful  teacher  of  piano  and  singing  at 
Boston,  a  musical  critic,  poet  and  litterateur. 

Elvey.  Sir  George  J.,  Mus.  Doc,  born  1816. 
A  composer  of  church  music  in  England. 

Emboiicliure  (Fr.  iim'-boo-shur).  The  part 
of  a  musical  instrument  applied  to  the  mouth. 
Hence  used  to  denote  the  disposition  of  the 
lips,  tongue,  etc.,  in  producing  a  tone. 

Emerson.  L.  O.,  a  well  known  teacher  of 
music,  conductor  of  conventions,  and  author 
of  35  successful  books  of  pisalmody,  chorus 
collections,  anthem  books,  a  method  for  voice, 
for  organ,  etc.  Born  at  Parsonsfield,  Me., 
Aug.  3,  i£2o. 

E  Moll  (Ger.)     The  key  of  E  minor. 

Emperor  Concerto,  a  title  gratuitously  be- 
stowed on  Beethoven's  concerto  in  E  flat,  op. 
73.     1S09. 

Emperor's  I^ymn,  music  by  Haydn,  also 
used  as  theme  for  variations  in  his  quartette, 
op.  76,  No.  3. 

Enipfiudung  (Ger.  emp-fin'-doong).  Sensa- 
tion. 

Encke.  Heinrich  (enk -e).  A  talented  pianist, 
arranger  and  composer,  pupil  of  Hummel. 
B.  i8n.     Died  at  Leipsic,  1859. 

Encore  (Fr.  ong-kor).  Again;  used  for  de- 
iTianding  repetitions  in  concerts. 

Engedi  (en-ga-dee).     See  "  Mount  of  Olives." 
Energia  (Ital.  en-erd-jee-a)      Energy. 
Energico  (Ital.  en-ar  -jee-ko).     With  energy. 
Engel,  David  H.  (eng-gel),  organ  virtuoso  and 
composer  in  Germany.      B.  1816. 

Engel,  Gustav,  a  distinguished  teacher  of  sing- 
ing in  Berlin.  B.  1823.  E.is  also  a  writer  of 
musical  works  and  on  philosophical  subjects. 

Engel,  J.  Karl,  musical  condiicter  and  composer 
in  Berlin,  and  composer  of  dances,  matches, 
etc.     B.  1821. 

English  Opera.  Opera  by  English  com- 
posers.    Or,  (2)  opera  in  English. 

English  Horn,  the  tenor  oboe  in  F. 

English  Dances,  contredances,  ballads, 
hornpipes,  etc. 

English  Horn,  a  species  of  oboe  a  fourth  or 
fifth  lower  than  the  common  oboe.  See  Cor 
A  iigiais. 

English  Fingering,  called  also  American 
fingering,  see  Fingering. 

Enharmonic  (en'-har-mon  -ic).  Therelation 
of  pitch  between  tones  having  different  names 
but  sounding  alike  on  tempered  instruments  ; 
C  sharp  and  D  flat,  F  flat  and  E,  etc. 

Enharmonic  Organ  (or  "perfectly  tuned"). 
An  organ  invented  by  RIessrs.  Alley  &  Poole, 
of  Newburyport,  Mass.,  about  1848,  so  con- 
structed as  to  play  in  perfect  tune  in  all  keys. 
It  contained  48  tones  to  the  octave.  Is  des- 
cribed in  Silliman's  A  mericau  'Journal  about 
1850.     Was  practicable  in  plain  music. 


a  aCe^  a  add^  a  «r;«,  §  eve^  6  etid^  i  ice^  l  zV/,  o  old,  6  odd^  6  dove,  00  iHOon^  u  lutc^  u  but,  u  Fr.  sound 


ENH 


DICTIONARY 


EXT 


£llliai-|llOllio  Sosile,  the  name  of  an  im- 
aginary, or  at  least  undetermined,  scale  em- 
ploying enharmonic  inttrvals. 

KlllKll'lllOilic  Modulation,  a  change  of 
IvL-y  involving  an  enharmonic  change  of  chords. 

Ell!»4>nil>l<'   (Fr.  on-sam -bl).     Together;  the 

whole.     The    total    effect    of   the   combined 
forces. 

Entree  (Fr.  ohn-tra  ).  The  entrance  ;  introduc- 
tion. 

Entfiielirunjs;  aus  dem  Serail  (ent-fee- 
rung  ous  dem  siir-Il  ).  A  comic  operetta  in 
3  acts  by  Mozart.     1782. 

£l'ai'd,  a  famous  family  of  piano  and  harp- 
mikers  in  Paris,  established  1777,  when  Se- 
bistian  Erard  mads  the  first  piano-forte  ever 
made  in  France. 

Eolian,  see  jEolian. 

Epic,  an  extended  poem  on  a  heroic  subject. 

£piMOde,  a  digression.     A  part  of  a  piece  not 

founded  on  the  principal  subject  or  theme. 
Epodo,  an  after-song.  A  burden  or  refrain. 
El'ben,   Henry,   an   eminent   organ-builder   in 

New  York.     Established   about  1835.     Died 

in  1878. 

Erdniansdoerfor,  Max,  a  talented  director 
and  composer  in  Germany,  born  1848. 

Erk,  Lud  wis;  Christian  (iirk),  a  musical  director 
author  of  school  songs,  etc.,  in  Kerlin.  A 
prolific  writer.  '   B.  18-7. 

Erkol.  Franz,  a  distinguished  Hungarian  com- 
poser of  the  present  time.  B.  1810.  Author 
of  several  operas,  etc. 

El*nani  (ar-na'-nee).  Italian  opera  in  4  acts  by 
Verdi,  founded  on  Victor  Hugo's  "  Ernani." 
1844. 

Ernst,  Henry  William,  celebrated  violin  player 
and  composer  of  pieces  for  the  violin.  Born 
at  Briinn,  1814.     D.  1865. 

Eroioa.  The  sinfonia  eroica  is  the  3d  of  Bee- 
thoven's symphonies,  op.  55.     1804. 

Eroico  (Ital.  ar-o'-I-ko).     Heroic. 

El!»(Ger.)     E  flat.     Es  inoll.  E  flat  minor. 

Escildier  (es-koo'-dee-il)  brothers,  Marie  and 
Leon,  French  critics  of  music  in  "  La  France 
Musicale."     1819  and  1821. 

ESClllIiann.  J.  K.,  talented  composer  for  the 
piano,  highly  esteemed  by  Schumann,  Born 
1825.     Is  a  piano  teacher  in  Zurich. 

Eslava,  Miguel  Hilario,  one  of  the  most  dis- 
tiiiguised  Spanish  composers  and  musicians 
of  the  present  time,  was  born  in  1807.  Was 
composer  ofoperas,  church  music,  etc.  D.  1878 

Espirantio  (Ital.  es-plr-an'-do).  Used  in  the 
same  sense  as  pcrjenjosi^  dying  away  ;  /.  f ., 
gradually  softer  and  slower. 

Espi'essivo  (Ital.  es-pres-ce'-vO).  Expres- 
sively. 

Esser.  Heinrich  (es'-er),  a  well  known  German 
composer  of  popular  songs,  born  1818.  In 
1847  was  director  of  the  Royal  Opera  in 
^'ienna.     Died  1872. 

Ei^St'otial,  the  necessary  or  indispensable.  In 
harmony  the  essential  tones  are  those  belong- 
ing to  the  chord, one  of  each.  The  doubles 
or  repetitions  of  these,  and  the  auxiliary  notes 
are  not  an  essential  part  of  the  harmony,  al- 
though they  may  be  to  the  effect. 


E.tther.  Handel's  first  oratorio,  1730.  a.  Can- 
tata by  \\m.  B.  Bradbury,  words  by  C.  .M. 
Cady. 

Estorliazy.  a  distinguished  musical  family, 
living  partly  in  N'icnna  and  partly  in  Hun- 
gary, who  for  very  many  years  kept  up  a  com- 
plete orchestra.  (Jf  this  Haydn  was  director 
ft>r  about  33  years.  This  and  the  supjxjrt  of 
his  private  opera  cost  the  prince,  in  1790,  40, 
000  florins  I $20,000). 

Et  Inoarnatus  (Lat.  Tn-kar-nlt -tus),  "and 
was  born.''  A  part  of  the  Credo,  in  the  Mass. 

Etolle  dii  Xord.  L',  "The  Star  of  the 
North."  grand  opera  ir.  3  acts.  .MuaIC  by 
Meyerbeer.      1S54. 

Et  Resurre.xit,  "  and  rose  again."  Part  of 
the  Credo. 

Etnde  (Fr.  a-tude).  Study.  Etudes  are  of 
several  kinds:  (ii  .Mechanical,  such  as  those 
of  Czerney,  Kiihlcr,  Kalkbrenner,  Herz,  etc. 
(2)  Mechanical  and  arti-itic,  as  when  a  new 
method  of  practice  is  proposed  to  facilit.ite 
certain  artistic  effects.  Such  are  the  Clement! 
Gradus  (best  in  Tausig's  arrangement)  for 
the  classical  school;  the  Chopin  studies  and 
Liszt's  studies  in  transcendent  execution,  for 
the  new  school.  (3)  Studies  in  musical  effect, 
such  .as:  B.ich's  "Clavier"  and  Kunst  dcr 
Fugue;  Heller's  Art  of  Phrasing  ;  Schu- 
mann's etudes  symphoniqiies,  and  studies 
founded  on  Paganini  s  caprices.  (4  I  Studies 
for  elementary  instruction,  among  the  best  of 
which  are  those  of  Locschhorn,  op.  66,  for 
forming  the  execution. 

Etwas   lancNanier  (Ger.  et'-vas  liing -sa- 

nier).     A  litile  slower.   • 

Eulor.  Leonhard  (oil-er),  a  great  mathematician 
and  acoustician,  one  of  the  first  who  investi- 
gated the  scientific  principles  of  vibrations  in 
tones.     Born  at  Basel,  1707.     D.  1783. 

Euphony,  sweet  sound. 

Eupliouiniu.  a  brass  instrument,  the  B  flat 
bass  sax-horn.  Usually  furnished  with  4  or 
5  valves. 

Elir.vailtlie  1  yoo'-rl-iin  -thr',  Ger.  pronuncia- 
tion oi'-ry-an-the).  The  6th  of  Weber's  7 
operas.     1823. 

Evers,  Carl,  a  pianist  and  composer  residing  in 
Vienna.  B.  1819.  .\uthor  of  sonatas,  fugues, 
fantasias,  etc. 

Extempore  Playing,  the  art  of  working 
up  a  subject  without  premeditation.  In  this 
art  the  old  masters.  Bach,  Handel,  Beetho- 
ven, .Mendelssohn,  etc.,  were  very  proficient. 
It  depends  on  natural  musical  feeling,  and  a 
mastery  of  the  art  of  musical  expression  by 
means  of  much  practice  in  wilting.  The  ex- 
tempore playing  of  uninstructed  players  is 
generally  egregious  nonsense,  and  ought  not 
to  be  tolerated  in  church  or  society.  .Among 
American  musicians  the  most  distinguished 
for  ability  in  extempore  performance,  are 
I'lidU-y  Buck  .ind  Wm.  Mason. 

ExpresMion.  the  utterance  of  feeling. 

Extravaicanza  (Ital.  ex-lruv-.'J  gUnt  -zii).  A 
cadence  or  (;rnament  in  bad  ta-te.  .V  work  of 
art  ill  which  the  acccpted'lawsarc  caricatured 
or  violated  for  a  purpose. 


a  a/f,  a  add^  U  arm^  e  cvc.  5  end,  i  ice^  I  ///,  0  oldy  6  odd,  6  dcrvc,  00  inootiy  u  /«/»•,  11  />«/,  U  Fr.  sound 

21 


EYK 


DICTIONARY. 


FES 


Eyken,  John  A.  van  (I'-ken),  a  distinguished 
Dutch  virtuoso  organist,  and  a  very  talented 
composer.  Born  1823.  Died  at  Elberfield 
1868.  Author  of  many  compositions,  among 
the  best  of  which  are  his  organ  sonatas. 

Extreme  Keys,  an  old  term  implying  those 
keys  having  many  sharps  or  flats,  as  B,  F 
sharp,  D6,  C^,  etc. 

F,  the  fourth  of  the  key  of  C.  In  French,  Fa. 
The  name  of  an  absolute  pitch.  See  table  of 
pitches  in  appendix.  F  holes  are  the  holes  in 
the  belly  of  the  violin. 

Fabl'i,  Annebale  Pio,  a  famous  tenor  of  the 
i8th  century,  who  was  also  a  fine  musician. 
Born  at  Bologna  1697.     Died  in  Lisbon  1760. 

Faeilita  (Ital.  fa-sil'-i-tii,  or  Fr.  Faciliie)^ 
made  easy.  An  easy  arrangement  of  a  pas- 
sage. 

FackletailZ  (or  Marcke  au  Flavtbeaitx),  a 
torch-light  procession.  The  music,  for  mili- 
tary band,  is  in  3-4  time,  polonaise  rhythm. 
Meyerbeer  has  written  four. 

FagOtt  (Ital.  Fagotto),  German  name  for  the 
bassoon. 

Fair  Rosanioncl,  a  grand  opera  in  4  acts. 
Music  by  John  Barnett,  1837.  Also  a  name 
applied  to  a  melody  of  Schubert's,  on  which 
he  has  composed  variations  in  his  Impromptu 
in  B  flat,  op.   142. 

FaiSSt,  Immanuel  (fist),  a  distinguished  Ger- 
man organ  virtuoso,  theorist  and  compos'-r. 
Born  1823  in  Esslingen.  F.  founded  a  school 
of  organists  in  Stuttgart  in  1847,  ^'^^  busied 
himself  with  organizing  a  conservatory  there, 
which  he  accomplishei  in  1857,  and  was  made 
director  of  it  in  1859.  Best  known  as  a  musi- 
cal educator. 

Fa-la,  an  old  English  refrain.  Also  applied  as 
a  name  to  pieces  ending  with  it. 

False,  in  music,  signifies  incorrect. 

False  KelatiOIl  (or  Cross  relation)  is  the 
occurrence  of  a  chromatic  contradiction  be- 
tween two  voices  in  composition  ;  as  when 
one  sings  C,  and  the  other  immediately  follows 
it  with  C  sharp.  The  false  relation  is  cor- 
rected when  the  C  sharp  is  given  to  the  voice 
that  had  C. 

Falsetto  (Ital.  fal-set-to).  The  head  register 
of  the  voice,  especially  in  men,  where  it  has 
a  feminine  quality. 

FalstafF,  a  comic  Italian  opera  in  2  acts,  by 
Balfe.     1838. 

FantlangO,  an  Andalusian  dance  accompanied 
by  the  guitar  and  castanets.  Originally  in 
6-8  time,  slow  tempo,  mostly  in  the  minor. 
Later  in  3-4  time,  written  with  six  8ths  to  the 
meaAire,  the  second  being  divided  into  trip- 
let of  i6ths. 

Fanfare  (fan -fart.  A  short,  lively  and  loud 
piece  of  music  for  trumpets  and  kettledrums, 
u'=ed  on  state  occasions  to  announce  the 
entrance  of  important  dignitaries. 

Faniska  (fan-is'-ka).  Cherubini's  21st  opera, 
in  3  acts.     1806. 

Fantasia  (Ital.  fan-tii'-zl-a,  Ger.  Fantasie, 
f an'-ta-zee),  a  fantasy.  A  composition  fol- 
lowing no  regular  form. 

Fantasiestueck  (Ger.  fan-ta-zee -steek). 
Fantasy  piece,  a  name  adopted  by  Schu- 
mann to  characterise  various  pieces,  for  piano 
alone  and  with  other  inr.truments. 


Fantastic©  (Ital.  f  an-tas-tee-ko,  Fr.  Fantas- 
tigue,  fan-tas-teek  ).  Fantastic.  In  an  irregii- 
lar  and  capricious  manner. 

Fa.rce  {/arcio,  related  to  the  'La.tm yarcire,  to 
stuff).     A  play  stuffed  full  of  fun. 

Farandola  (Ital.  far-an-do-la,  Fr.  Faran- 
doiilt\  far-an  dool).  A  peasant's  dance  in 
the  south  of  France  and  adjacent  parts  of 
Italy. 

Farinelli.  Carlo  Broschi  (far-in-el'-lee),  a 
celebrated  male  soprano,  one  of  the  most 
beautiful  voices  ever  he'ard.  Born  at  Naples, 
1705.  D.  1782.  F.  was  a  good  musician,  an 
incomparable  artist,  and  an  intelligent  and 
highly  esteemed  man. 

Fasch.  Carl  (fash),  founder  of  the  Singakad- 
emie  at  Berlin.     1736-1800. 

FascliinKSSChAvank  (fash-  ings  -  swank). 
Carnival-pranks,  the  name  of  Schumann's 
op.  26,  for  the  piano-forte. 

Faure,  Jean  Baptiste  (for),  the  most  distin- 
guished baritone  singer  of  the  present  time, 
as  well  as  a  good  musician,  a  fine  actor  and 
a  man  of  culture.  Engaged  chiefly  at  Paris. 
B.  1830. 

Faust  (fowst).  Opera  in  5  acts  by  Gounod. 
1859.  There  is  also  a  "  Faust"  by  Lind- 
painter  1832,  Prince  Radziwill  1836,  and 
Spohr  1813. 

Faust,  Karl,  a  favorite  German  dance  composer 
whose  works  exceed  200  in  number.  B.  1825. 
F.  was  in  1836  band-master  in  the  36th  Inf. 
of  the  Prussian  army.  Later  in  1869  music 
director  in  Waldenberg. 

Faus-bourd'sn  (Fr.  fos  boor-don).  False 
bass.  A  simple  accompaniment  once  sung  by 
ear  to  the  plain  song. 

Favoi'ita.  La  (fav-6r-ee-ta).  The  favorite. 
Opera  in  4  acts  by  Donizetti.     1842. 

Favarger,  Rene,  a  French  pianist  and  com- 
poser of  parlor  pieces.  Died  in  Sept.  1868  in 
Paris. 

Feierlich  (Ger.  fi-er-likh,  from  Feier,  a 
feast).     In  festival  style.     Grandly. 

Ferniato  (Ital.  far-ma-to).   A  pause,  or  hold. 

FerniO  (Ital.  f  ar'-mo).     Firm. 

Feroce  (Ital.  fa-ro -tshe)or  ConFerocita,  with 

ferocity,  ferociously. 
Ferrara,  an  Italian  city,  for  very  many  years 

the  seat  of  influential  schools  of  instruction 

in  music,  of  which  the  oldest  was  founded  in 

1600. 
Ferrari.    Benedetto    (fer-ra'-ree),    an  Italian 

musician  and  composer  of  words  and  music 

for  a  species  of  drama.     1597-1681. 
Fervente    (Ital    far-van'te),    fervently,    with 

warmth. 
Fernando  <"ortez,  opera  in  3  acts,  by  Spon- 

tini.      i8oi. 
Fes  (Ger.  fes),  F  flat. 

Fesea,  Freidrich  Ernst,  a  popular  German  com- 
poser, born  at    iMagdeburg    1789.     Produced  ' 
very  many  works  of  chamber  music  and  songs, 
which  are  melodious  and   beautiful,  though 
not  deep.     D.  1826. 

Fesca,  Alexander,  son  of  the  preceding,  was 
also  a  promising  composer  of  chamber  music, 
songs,  an  opera,  etc.  1820-1849. 


a  ale,  a  add,  a  arm,  e  eve,  e  end,  \  ice,  I  ill,  o  old,  6  odd,  6  dove,  00  mooii,  u  lute^  u  but,  U  Fr.  sou 


'.nd 


FET 


DICTIOXAKY. 


FLO 


FotiM,  Francois  Joseph,  (fa  -tee),  the  learned, 
laborious  and  prolific  musical  litt(5rateur, 
audior  of  a  "  IJiographie  Universelle  des 
iMusiciens"  and  '"  Histoire  general  de  la 
Musique,"  as  well  as  several  opencs,  theo- 
retical works,  and  many  critical  essays.  Horn 
at  Mons  1784.  Died  at  Prus^els  1871.  Feiis 
was  founder  of  "  I,a  Revue  .Musicale''  ia 
1827.  llis  Biographic  is  marred  by  many 
errors  of  dates. 

Festivo  Utal-  fes-tee  -vo),  festively,  solemnly. 
Festoso  (Ital.  fes-to  -zo),  joyously. 
FiaSfO    (Ital.   fee-as-ko),    applied  to  a  failure 
111  performance. 

Fidelio.  0(/^?-  die  ehelichc  Liebe  (ft-da -llo) 
"  Fidelio,  or  Conjugal  Love,''  Beethoven's 
single  opera,  in  3  acts.     Op.  72.     1804. 

Field,  John,  born  at  Dublin,  July  26,  1782. 
Died  at  Moscow  1S37.  One  of  the  most 
charming  pianists  of  his  day,  a  good  compo- 
ser, and  deservedly  celebrated  as  the  foundar 
of  the  "nocturne''  as  a  separate  musical 
form. 

Field  Music.  Military  music  (which  see). 

Fierrahras  (feer'-rab-ras),  an  opera  in  3  acts 
by  Schubert.     1823. 

Ficr  (Fr.  feer),  or  Fii'ro^  f  It'al.  fe-a-ro),  proud, 
fierce. 

Fierailieilte  (Ital.  feer-a-men-tS),  proudly, 
fittrcely. 

Fife,  the  smallest  variety  of  the  simple  flute, 
possessing  but  one  key.  Higlier  octaves  are 
produced  by  over-blowing.  Used  in  military 
music. 

Fiftlli  the  interval  between  any  tone  of  the 
scale  and  the  next  but  three  above  or  below 
C  G,  D  A,  E  B,  etc.  The  perfect  f^fth  h.as 
the  vibrational  ratio  2  :  3. 

Fifteenth,  the  interval  of  two  octaves.  An 
organ  stop  of  diapason  tone,  2  ft.  pitch.  Used 
only  in  chorus  effects,  for  brightening  the 
somewhat  dull  tone  of  the  8  ft.  stops  by 
strengthening  their  overtones. 

Figaro.    (See  Figaro's  Hochzeit.) 

Figaro's  Hoelizeit.     Opera  in   3  acts,  by 

Mozart.     1786. 

Figurante  (Fr.  f  Ig  -u-rant\  a  ballet-dancer, 
who  takes  an  independent  part  in  the  piece. 

Fisill'e,  a  motive.  Any  short  succession  of 
notes,  or  group  of  chords,  used  as  a  model  in 
sequencing.     See  Lessons  i,  2,  and  19. 

Figured  Bass,  a  bass  furnished  with  tho- 
rough bass  figures  indicating  the  accompany- 
ing chords.  Used  in  scores  as  a  convenience 
to  the  accompanist,  and  an  additional  assis- 
tance in  correcting  typographical  errors. 
Many  of  Handel's  arias  have  no  other  written 
accompaniment,  the  composer  filling  it  out 
from  this  short-hand. 

Figured  C'lloraU'.  a  harmonized  choral, 
having  one  or  inoic  of  the  parts  contrapun- 
tally  developed  and  ornamented. 

Fille  du  Regiment.  La  (feeldu  RegimanX 
"  The  Daughter  of  the  Regiment,"  oper.a  in 
2  acts,  by  Donizetti.      1840. 

Finale  (Ital.  fen-a  -IP),  the  finale,  the  closing 
movement.  Of  sonata  finales  see  Lesson  15. 
Opera  finales  consist  of  sever.il  single  pieces 
strung  together  in  cumulative  succes^ion,  until 
a  climax  is  reached. 


Fine  (Ital.  (t-r-n  r-i.  the  end.  Pl.ited  over  a 
b.ir  indicates  that  the  piece  end^  there  afier  a 

./.*  iU/'i>. 

Fingering,  the  mode  of  applying  the  fingers 
to  the  keys  in  the  exccutiuii  of  passages.  2. 
The  mode  of  designating  the  fingers  by  nu- 
meraU  A  mericun  fingering  designates  the 
thumb  and  four  fingers  by  X  1  2  3  4.  J-'or- 
eigti  fingering  denotes  the  thumb  by  the  nu- 
meral I.  I'he  same  scale  would  be  marked  in 
the  two  ways  as  follows,  the  same  fingers 
being  indicated  in  t>oth  methods. 

American.     /.    i   2   X    1234. 

Foreign.     _     i    23    1    2345. 
Foreign     fingering    is    gradually     supersed- 
ing the  other  on    account  of  the  constantly 
increasing  use  of  foreign  copies  of  cla^ical 
music,  e>(>ecially  the  Peier?i'   Edition. 

Fink.  Christian,  a  distinguished  organ  virtuoso 
and  composer  for  the  organ  and  voice.  Born 
1831  at  Dettingen,  near  HciJcnheim. 

Fink,  G.  W.,  a  German  composer  and  poet. 
Born  1783.  In  1827  became  editor  of  the 
"Allgemeine  Musikalisches  Zeitung,"  in 
Leipsic.     D.  1846. 

Fiorature  (Ital.  fee -or-Ji-turt,  flowerets, 
ornaments,  arpej.'gios,  shakes,  turns,  etc., 
introduced  by  singers  into  airs.  Also  illus- 
trated in  the  small-note  runs,  in  the  melodies 
of  Chopin's  slow  movements. 

Fis  (Ger.  fees).     F  sharp. 

Fischer.  Karl  A.,  a  distinguished  organ  virtu- 
oso of  the  present  time,  in  Dresden.  Born 
1S29  at  Ebersdorf.  .Author  of  many  organ 
compositions,  a  sinfonie  for  organ  and  orches- 
tra, an  opera  Lorely,  etc. 

Fitz.william  :Vlusie.  a  collection  of  MS. 
music  left  the  University  of  Cambridge  in 
1816,  by  Viscount  Fitzwilliam,  containing  the 
■Virginall-book  of  Queen  Klizabeih,  much 
church  music,  afterwards  published  by  No- 
vello,  etc. 

Flageolet,  the  modern  form  of  the  old.  straight 
lliitc,  or  Jlute  II  bee,  shaped  like  an  oboe  or 
cl.irinet  ;  the  tone  is  produced  on  the  princi- 
pal of  a  stopped  pipe. 

Flat,  a  character  signifying  depression  of  pitch. 

To  depress  the  pitch. 
FlautO.  Italian  name  for  flute. 

F^lautino  (Ital.  flaw-teen  -6),  a  little  fiute.  A 
light  organ  stop  of  2  ft.  pitch  and  flute  qual- 
ity, commonly  in  the  "swell." 

FlautO  Trayerso   (truv-er'-sfi),  a  flute,  so 

named  in  distinction  from  the  old  "Jlute  a 
bee,"  OT,  "flute  with  a  beak,"  or  flageolet. 
An  organ  stop,  generally  of  wood  and  4  ft. 
tone,  harmonic  in  quality  (/./•.  made  to  speak 
the  octave  of  the  true  pitch  of  its  pipes  by 
over-blowingt.  Sometimes  of  8  ft.  pitch,  in 
which  case  it  is  nearly  the  same  as  the 
"  melodia,"  but  more  brilliant. 

Fliegendf^  Hollander.  Dcr   i rtce-grn-dP 

hul-ir'n-dPri,  "The  Flying  Dutchman." 
opera,  in  3  acts.  Words  and  mu>ic  by 
Richard  Wagner.  1843. 
Fl0ri(>.  Caryl,  pseudonym  of  Mr.  W.  J. 
Rabjohns,  an  organist  and  composer,  resiu- 
ing  in  New  Votk.      Born  about  1S50. 

Florid  <'oiinter|toint.  a  counterpoint  con- 
si-.tini^  cif  an  .iltcrnation  of  all  the  primary 
varieties,  .is  "  note  against  note,"  "  two 
against  one,"  "  four  ap^ainst  one."  and 
"syncop.ition,"  in  sncc:ssive  me.asures. 


a  ah\  a.  add,  a  arm,  e  eve,  e  end,  \  iee,  I  ///,  o  old,  o  odd,  o  dove,  00  moon,  \i  lute,  li  but,  li  Fr.  sound 

»3 


FLO 


DICTIONARY. 


FUG 


JPlOl'id,  music  in  rapid  figures,  trilh,  runs, 
roulades,  etc.  Variations  are  the  readiest  ex- 
amples of  florid  writing. 

I'l0t0\v%  Friedrich  (flo'-to),  a  German  opera 
composer,  born  April  27,  1812,  at  Mecklen- 
berg.  Resides  at  present  in  the  neighbor- 
hood of  Vienna.  F.  is  the  author  of  no  less 
than  14  or  15  operas,  of  which  "  Stradella,'' 
"  Martha,"  "  L'Ombre''  have  been  extreme- 
ly successful.  Flntow  is  a  pleasing  melodist 
and  a  genial  musician. 

rilifgeS  (Ger.  flee'-gBl),  a  wing.  The  name  of 
the  grand  piano-forte,  suggested  by  its  shape. 

Flliegel  Horn,  a  bmss  instrument  of  the 
Bugle  kind,  used  in  the  German  armies.  The 
F.H.  now  usetl  is  a  Bb  cornet  with  pistons 
and  a  horn  mouth-piece. 

Flllf-woi'li.  Organ  pipes  in  which  the  tone  is 
generated  by  the  wind  passing  through  a 
fissurt;,  fluey  or  wind-way,  and  striking 
against  an  edge  above,  all  belong  to  the 
Flue-work,  as  distinguished  from  the  Reed- 
work,  which  see. 

iPlute.  called  also  German  Flute,  to  distinguish 
it  from  t\\G  flute  a  dcc\  a  kind  of  flageolet. 
Produces  three  octaves  of  tones  from  D  below 
the  treble  staff.  The  Boeh(n  flite  is  an  im- 
portant improvement  in  the  mechanism  of 
the  keys,  having  the  effect  of  equalizing  the 
difficulty  of  playing  in  different  keys.  An 
organ  stop  now  made  in  8  ft.,  4  ft.  and  2  ft. 
pitch,  and  of  several  qualities. 

Flute  d'AniOUr  (Fr.  flut  dam-oor'),  a  flute 
01  light  and  pleasing  tone.  Used  also  as 
name  for  a  4ft.  organ  register. 

Foot,  a  measure  in  prosody.  2.  That  part  of 
an  organ  pipe  below  the  mouth.  Also  used 
as  part  of  the  pitch  designation,  as  8  ft.,  the 
normal  pitch.     See  Pitch. 

Foittana.  J.  (fon-ta-nal,  a  composer  of  pleas- 
ing salon  pieces  for  piano. 

Fontaine,  Henri  L.  S.,  a  noted  piano-forte 
virtuoso  and  composer.  B.  i8i6  at  Wisnio- 
wiec. 

Foer.Ster,  Emanuel  Aloys  (furstert  a  German 
composer  of  chamber  music,  and  a  thcorisr. 
Born  1748.  Died  at  Vienna  1823.  Held  in 
high  esteem  by  Beethoven. 

Form,  the  organization  of  musical  ideas  into 
phrases,  sections,  periods,  period-groups  and 
complete  forms.  See  Part  Second.  Also  in 
general,  the  external  part  of  an  art-work. 
See  Chap.  22. 

Fovnies.  Karl  (for-mes),  a  celebrated  bass 
singer,  born  1810.  Came  to  America  in  1857. 
Led  rather  an  irregular  life. 

Forte  (Ital.  for  -t(5i,  loud. 

FortiSJ<iinO  (Ital.  for-tees-si-mo),  superla- 
tive of  the  preceding.     As  ioud  as  possible. 

Forte- Piano  in  its  abbreviation  fp.  signifies 
a  first  note  forti\  and  all  the  rest  piano. 
Much  used  by  Mozart. 

Fortzando  (Ital.  fort-zan-do).  Forcing.  A 
sudden  force,  emphasis  or  accent  oa  a  particu- 
lar note  or  chord. 

Forza  del  I>estino,  La  (furd-za  del  des- 
tee'-no).     I'ragic  opera  by  Verdi.     1862. 

Fourth,  the  interval  between  any  tone  of  the 
scale  and  the  next  but  two  above  or  below. 
The  perfect  fourth  has  the  vibrational  ratio 
3:4- 


Fra  I>iaVOlO  (fra  di-iiv  -o-lo).  Opera  in  3 
acts  by  Auber.     1830. 

Fradel,  Charles  (frii'-del),  a  German  musician, 
piano  teacher,  composer  and  arranger,  for 
many   years    resident   in    New   York.     Born 

in  1S21. 

Franz,  Robert,  the  most  distinguished  song- 
writer, and  one  of  the  foremost  musicians  of 
the  present  time.  ,Born  June  28,  1815,  at 
Halle,  HAndel's  birth-place.  Franz  studied 
music  against  his  parents'  wishes;  when 
his  first  set  of  12  songs  (1843)  were  published 
they  attracted  the  favorable  notice  of  Schu- 
mann and  afterwards  of  Gade,  Mendelssohn, 
etc.,  after  which  he  had  a  pleasanter  time. 
His  hearing  becoming  affected,  he  was  obliged 
to  relinquish  (in  1868)  his  employment  as  or- 
ganist and  lecturer  on  music  at  the  University 
of  Halle.  Franz  is  the  author  of  very  many 
songs,  and  of  many  other  compositions.  Be- 
sides 'vhich,  he  has  added  missing  parts  to 
several  of  the  scores  of  Bach  and  Handel, 
thereby  rendering  them  available  for  modern 
use. 

Free  Reed,  a  reed  in  which   one  end  of  the 

vibrator  or  tongue  swings  entirely  through 
the  opening  in  the  metal  socket  at  each  vibra- 
tion. Opposed  to  "  impinging  "  reed,  inwhich 
the  vibrator  beats  upon  the  socket.  Free  reeds 
are  used  in  accordions,  flutinas,  melodeons, 
harmoniums,  reed  organs,  and  in  free  reed 
organ  pipes,  the  chief  of  which  are  the 
"euphone"  and  "  vox  angelica." 

Free  Fugue,  a  fugue  in  which  the  rules  are 
not  strictly  observed. 

Free  Style,  or  simply  Free  Composi- 
tion. Compositiou  in  which  the  rules  of 
part  writing  are  not  observed,  and  no  stated 
number  of  voices  is  maintained. 

Freiscliuetz,  Der  (fri'-sheetz),  "  The  Free- 
shooter."     Opera  in  3  acts  by  Weber.     1821. 

Frenell  Horn.  The  orchestral  horn,  a  brass 
instrument  consisting  of  a  very  long  tube 
curved  into  a  circular  fjrm,  and  furnished 
with  valves  like  a  sa.x-horn.  It  produces  a 
beautifully  clear  and  mellow  tone,  or  it  can  be 
blown  brilliantly  like  the  trumpet.  Very 
difficult  of  intonation. 

Freueh  Si.vtil.  A  name  sometimes  applied 
to  the  sharp  6th,  4th,  and  3d. 

FreSCObaldi,  Girolamo,  the  most  distin- 
guished organist  of  the  17th  century.  Born 
at  Ferrara  about  1587.  Was  organist  of  .St. 
Peters,  at  Rome,  from  i6'5.  Published  many 
works  for  the  organ  and  for  voices,  the  last  of 
which  appeared  about  1657. 

Frets,  small  pieces  of  wood  or  metal  fixed 
transversely  on  the  fingerboard  of  the  guitar 
and  lute  for  the  purpose  of  marking  the  place 
for  applying  the  fingers. 

Froberger.  Johann  Jacob,  (fro  -bar-ger),  an 
eminent  organist,  born  at  Halld.  VVas  ap- 
pointed court  organist  to  the  Emperor  Fer- 
dinand 111.,  in  1635-1695.  Was  a  pupil  of 
Fiescobaldi. 

Friscll  (Ger.),  lively. 

Froelicll  (Ger.  fru-llsh),  joyous,  gay. 

FugatO  (leal,  fu-gii'-tol,  an  irregularly  con- 
structed movement  in  fugue  style. 

Fuglietta  (Ital.  fu-get-iai,  a  short,  but 
strictly  composed  fugue. 


a  aUy  a,  add^  a  arm.,  e  eve.,  e  end^  i  /tv,  1  ill.,  o  old^  6  odd.,  o  dove,  00  moon.,  vl  lute.,  u  but,  ii  Fr.  sound 

24 


FUG 


DICTI().\Ai;V. 


GUY 


es. 
extending 


Fugue,  or  Fusa    (fflgi,  from  /iigare  to  fly 
A  composition   developed  from  a  single  sub- 
ject   which   IS  taken  in   turn  by   each  voice 
answering  each   other  according    to   certain 
rules. 

FuKue,  l>oiible,  a  fugue  with  two  subjects, 
both  of  which  are  finally  introduced  together. 

Full  Anthem,  an  anthem  in  which  there 
are  no  solos,  or  duets,  but  continually  chorus. 

Full  <;hord.  a  chord  lacking  none  of  its  ton 
A     chord    with     many     doubles 
through  several   octaves. 

Full  Org-an,  implies  generally  the  use  of  all 

the  stops  in  the  Great  Organ.  To  this  may 
be  added  the  principal  registers  of  the  other 
manuals. 

Full  to  Fifteenth,  a  direction  for  the  use 
of  all  the  stops  of  tlie  Gre.it  Organ,  except 
the  mixtures  and  reeds. 

Full  Seore,  a  complete  score.     See  Score. 

Fundamental  Ifia^.s,  a  bass  consi^ting  of 
the  roots  of  the  chords  only.     See  Koot. 

Funebre  Fr.  fu-nabr),  funeral,  mournful. 
Marche  funebre^  funeral  march. 

Fuoeo  (Ital.  foo-d'-ko),  fire,  energy,  passion. 

Fuoeo*i«     (Ital.    foo-o-ko -z6),   fiery,   ardent, 

impetuous. 

Furia  (hal.  foo-re-a),  fury. 

Furie  (Fr.  (ii-rC),  fury,  passion,  rage. 

Furore  (Ital.   foo-ro  -re),  fury,  passion,  rage. 

Fuss  (Ger.  foos\  a  foot. 

Furnltlll-e.  a  name  formerly  applied  to  cer- 
tain mi.\;ture  stops,  in  the  oigan. 

Fux,  Johann  Joseph,  a  celebrated  theorist, 
author  of  the  Gyadiis  ad  Parnassu»i,s.  trea- 
tise on  composition,  written  in  I.atm  in  the 
form  of  a  dialogue,  for  many  years  the  stand- 
ard text-book  in  harmony.  F.  was  a  prolific 
composer  of  sonatas,  masses,  motets,  hymns, 
dramatic  works,  etc.,  all  of  which  are  now 
.tntiquaied.  Born  at  Gratz  in  1660.  Died  at 
Vienna,  1741. 

<jr  (in  Itai.  and  French  Sol'),  th-  fifili  of  the  scale 
ofC.  Keynote  of  a  scale.     Name  of  a  pitch. 

<jlabriel.  Virginia,  pseudonym  of  an  English 
lady,  the  author  of  many  popular  songs. 

Ciabu.ssi.  Vincenzo  (gii-boos  -see),  composer 
and  teacher  of  singing.  Born  at  Hologna 
1804,  and  educated  there.  He  went  to  London 
in  1825,  where  for  about  1:;  years  he  was  a 
teacher  of  singing.  Returning  to  Bologna  he 
brought  out  his  opera  "  Ernani,"  in  1840, 
and  "Clemenza  do  Valois,"  without  success. 
Died  in  London,  1846. 

CSade,  Neils  (gii  -di"),  one  of  the  most  gifted 
and  accomplished  of  living  composers  and 
conductors,  was  born  Oct.  2?,  1817,  at  Copen- 
hagen. Studied  music  early,  in  1841  he  was 
"crowned"  for  his  '■  Ossian"  overtuie,  and 
went  immediately  to  Leiosic,  where  he  was 
warmly  received  hy  Mendelssohn  and  intro- 
duced to  the  public.  In  1845-6  he  acted  as 
sub-conductor  to  Mendelssohn  at  Leipsic, 
but  in  1848  he  returned  to  Copenhagen,  wheie 
he  still  lives.  Vi.  has  published  7  symphonies, 
5  overtures,  scver.d  cantatas,  etc.  His  music 
is  melodious,  pleasing,  refined,  poetic,  and  in 
a  style  similar  to  Mendelssohn's. 


♦jlaertlHT.  Carl,  a  German  musician  and  teach- 
er of  the  violin  and  singing.  Born  about 
1830.  Came  to  Boston  in  1852,  where  he 
has  since  resided. 

Galop  (gul  -01,  a  spirited  round-dance  in  2-4 
time,  usually  in  binary  form. 

Ganiba,  Viola  da,  (Ital.  gamba,  legi,  a  knee 
violin,  an  obsolete  si  ringed  instrument,  re- 
sembling the  violoncello,  but  originally  fur- 
nished with  frets  like  the  guitar.  It  had  6  or 
7  catgut  strings,  the  lowest  3  spun  with  wire. 
I  uned  D  1  belour  the  bass  staffs  G,  C,  E,  A, 
D,  and  (j. 

Gamba,  or,  Viol  da  Ciianiba,  an  organ 
stop  of  8  ft.  pitch  and  string  quality  of  tone. 
Generally  in  Great  Organ. 

Cjiamut,  the  scale.  The  word  means  ^^wwa 
and  «/,  the  latter  the  fir-ft  tone  of  tlie  scale, 
and  the  former  the  letter  which  represented 
it.     Now  obsolete. 

Gauelie  (Fr.  gdzhi,  left,  as  gauche  main,  left 
hand.  (From  the  same  root  as  "gawky,"' 
awkward.) 

Gareia.M.-inuel  (gSrts  -zeeil),  a  Spanish  teach- 
er of  singing,  the  original  investigator  into  the 
anatomy  oltlie  vocal  organs  and  the  physio- 
logy of  singing,  and  the  first  to  u^e  the 
laryngo.scope.  Born  at  .Madrid  1805.  Came 
to  .■\merica  with  hi-,  father,  the  celebrated 
tenor,  and  his  sister  Malibran,  in  1825.  '" 
1847  he  was  appointed  teacher  of  singing  at 
the  Paris  C  jnservatoire,  and  among  his  pupils 
were  Jenny  Lind,  Kate  Hayes,  etc. 

Gardiner.  \Vm.,  author  of  the  interesting  but 
desultory  book  "  Ihe  Music  ol  Nature,  and 
other  writings  about  music,  was  bom  at  Lei- 
cester, England,  1770.     Died  in  1853. 

Gavotte  (ga-vntV  a  French  dance,  deriving 
its  name  from  the  Gavdts  in  Dauphine  It 
is  in  common  time,  moderately  quick,  in  t.ne 
.incient  binary  iorm. 

Gaxza  liadra.  JLa  (g!id  -za  la-drii),  "  The 
Thieving  Magpie,"  a  comic  opera  in  2  acts, 
by  Rossini.     1817. 

<>edaeht  (Ger.  g.a-dakt  ),  covered. 

Gedaeht-Work,  all  the  flue  pipes  of  an 
or^an  that  are  closed  or  covered  at  the  top. 

Ge;;enNatx  (Ger.  ga  -g6n-sJitz,  against-piecei, 
a  contrast. 

Geijren  Principale  (Ger.  gl -gPn  prin -sl- 

P-''   '  ffoni  gi-i^eii^  a  stting-toned  diapason  or- 
gan stop,  of  8  ft.  pitch.     Usually  in  the  choir. 

GemNhoril.  a  string-toned  organ  stop,  gener- 
ally of  8  ft.  pitch.  The  name  is  not  now 
much  used.  Its  pipes  were  metal,  small  scale, 
with  bells. 

Gemiieiider,  George,  one  of  the  most  distin- 
guished and  successful  violin- makers  of  the 
present  time.  Born  1S16  in  logelfingen  in 
Wurtemburg.  Came  to  London  in  1851  and 
some  ten  years  later  to  New  York  or  Brook- 
lyn, where  he  still  resides.  G.  h.as  re-disco- 
vcreil  several  of  the  ancient  processes. 

Geseh wind ( Ger. ge-schvind  ).  Quick;  rapid. 

GewandhauM  (Ger.  gg-vflnd'-hows).  The 
name  of  a  famous  series  of  classical  concerts, 
given  every  season  in  Leipsic  since  1723. 

<iill.yH.  Joseph  (geez>,  a  distinguished  Belgian 
violinist  and  composer,  born  1S04.  Died  at 
St.  Petersburg,  1848. 


aa/^,  ii  add^  ii  ariity  e  eve,  6  end^  1  ice,  I  ///,  6  old,  6  add,  o  d(K>e,  00  iiioiin.  u  lu.'e,  u  /■.•//,  ii  F' 


• .  sound 


GIA 


DICTIONARY. 


GOT 


(iiiarclini.  Felice  de  (jlar-deen  -ee),  an  emi- 
nent violinist,  born  at  Turin  1716.  Came  to 
London  in  1750,  where  he  made  a  great  suc- 
cess, and  afterwards  became  a  popular  con- 
ductor. Author  of  many  .chamber  composi- 
tions.    L).  1796. 

Gibbons.  Orlando,  Mus.  Doc,  an  old  English 
cathedral  composer.     1583-1625. 

Hiss,  (Ital.  jee'-ga).  A  jig,  or  lively  dance  in 
triplets,  either  38,  6-8,  3-4,  6-4,  or  12-8. 

«ig:ue(Kr.jig).     A  jig. 

tiiiocoso  (Ital.  iio-l;o'-zo).    Jocosely  ;  humor- 
ously ;  playfully. 
Gioja  (Ital.  jio -yii).     Joy;  gladness. 

Gipsy's  'Warning,  The,  opera  in  3  acts  by 
Sir  Julius  Benedict.     1838. 

GiuramentO.  II  (joor'-a-miln'-td'l,  "The 
(Jath.'  D>-a/>t/uaserioby^leTC3.d3.nte.    1837. 

GiUStO  (Ital.  joos-to),  just.  In  equal,  steady 
time. 

GlPPser.  Franz  (gla'-zer),  composer  and  opera 
director,  born  in  Bohemia  1798,  studied  at 
Prague,  and  in  1S17  became  opera  director  at 
Vienna.  Here  he  brought  out  his  best  opera, 
"  Des  Adlers  Horste  ''  1833.  In  1842  he  was 
called  to  Copenhagen,  where  he  died  in  1861. 

GIe<?,  a  piece  of  unaccompanied  vocal  music  for 
at  least  three  voices,  and  for  solo  voices,  usu- 
ally for  men.  [Grove.]  The  word  is  from 
An.-Sa-x.  £'h'£'g;  music,  and  glees  are  in  every 
vein  of  feeling. 

Gloria  in  Kxcolsis,  "■  Glory  be  to  God  on 
High,"  otherwise  known  as  the  "  angelical 
hymn."  Pait  of  all  the  great  Christian 
liturgies. 

Glover,  William  Howard,  an  English  violin 
player,  opera  composer  and  song-writer,  in. 
the  latter  of  which  capacities  he  is  generally 
known.    Born  i8iq.    Died  in  New  York  1875. 

Glnclc,  Christopher  Willibald  Ritter  (gluk),  was 
born  July  2,  1714,  at  Weidenwang  in  the 
Upper  PUatinate.  In  1736  went  to  Vienna, 
where  he  was  seen  by  Prince  Melzi,  who  en- 
gaged him  for.  his  private  band  and  took  him 
to  Milan  to  study.  His  first  opera,  "  Artaser- 
se,"  was  written  in  1741.  In  1745  he  went  to 
London  as  composer  of  operas  for  the  Hay- 
market  theatre.  He  made  no  success  in  Eng- 
land, and  returned  to  Vienna  in  1746.  After 
six  years  of  insignificant  activity  here,  he 
produced  in  1762  his  "  Orfeo,''  in  which  he 
entered  upon  the  period  of  hi.s  real  maturity  ; 
in  this  he  composed  "Alceste,"  "Armide  " 
and  "Iphigenia,"  the  latter  of  which  was 
the  greatest  dramatic  work  composed  up  to 
that  time.  Gluck  brought  out  this  wrrk  in 
Paris  in  1774.  In  1780  he  returned  to  Vienna 
where  he  died  of  apoplexy.  Nov.  15,  1787. 
Gluck'sinfluence  on  musical  development  has 
been  very  great.  The  dramatic  principles 
which  he  promulgated  have  never  been  dis- 
puted, and  but  little  has  been  added.  As  a 
melodist  he  was  not  unlike  Mozart,  but  much 
less  spontaneous. 

Goddard,  Arabella,  one  of  the  most  distin- 
guished English  lady  pianists.  Born  1838. 
Studied  with  Kalkbrenner  and  Thalberg, 
and  Mr.  J.  \V.  Davidson,  Editor  of  the 
London  "  Musical  World."  She  made  conti- 
nental concert  tours  in  '54  and  '55.  In  i860 
she  was  married  to  Mr.  Davidson,  Visited 
America  in  1873.     Lives  in  London. 


Godfrey,  a  family  of  English  band-masters. 
Daniel^  the  well-known  waltz  composer, 
took  his  band  to  the  United  States  in  1872. 
Born  1831.  Master  of 'band  of  the  Grenadier 
Guards  since  1856. 

God  Save  the  Kins;,  the  English  national 
air.  First  sung  by  Henry  Carey,  the  com- 
poser, in  1740. 

Godefroid.  Felicien,  a  distinguished  French 
harp  virtuoso,  and  composer  for  the  harp 
and  piano.  Born  1818,  was  educated  at 
the  Conservatoire,  and  has  made  many  bril- 
liant concert  tours.  Lives  independently  at 
Paris. 

Gocltel.  August,  a  noted  German  pianist 
and  composer.  B.  1831.  Studied  at  Leipsic 
1845  and  after.  Was  in  America  1853-1856. 
Author  of  many  pleasing  and  elegantly  writ- 
ten works. 

Goldbeck.  Robert,  a  talented  composer  and 
pianist,  and  a  brilliant  critic,  litterateur  and 
teacher,  now  living  (1880)  in  St.  Louis.  Born 
ill  1835  at  Potsdam.  Studied  with  Henri 
Litolff.  and  in  1851  went  to  Paris.  In  1856  to 
London,  wherethrough  Alexander  von  Hum- 
boldt he  was  introduced  to  the  Duke  of  Devon- 
shire, through  who.^e  patronage  his  operetta, 
"  The  Soldier's  Return,"  was  brought  out  at 
Drury  Lane.  Came  to  New  York  1857,  «i"d 
in  1868  to  Chicago,  where  he  lived  until  1873, 
at  the  head  of  his  conservatory,  and  com- 
posed many  important  compositions,  especial- 
ly a  quintette  and  trio,  and  some  much 
admired  part-songs. 

Goldniark,  Karl,  a  brilliant  Austrian  com- 
poser, born  in  1832  in  Hungary.  His  first 
compositions,  a  psalm,  overture,  etc.,  were 
produced  in  18^1.  His  best  known  works  are 
his  "  Sakuntula "  overture,  and  selections 
from  his  opera,  "  The  Queen  of  Sheba." 

Gollniiok,  Karl  G.,  born  1796,  died  1866  at 
Frankfurt.  Was  a  pleasing  composer  lor  the 
piano,  author  of  Several  text-books  in  sing- 
ing, etc.,  and  a  teacher  of  music. 

Goldseliniidt.  Otto,  pianist,  composer  and 
conductor,  was  born  1829  at  Hamburg. 
Studied  at  Leipsic.  Married  Jenny  Lind  in 
1852.  At  present  occupies  a  prominent  place 
in  En.gland  as  Vice-Principal  of  the  Royal 
Academy  of  Music,  and  author  of  an  oratorio, 
"Ruth"  (1867),  a  piano-forte  concerto, 
songs,  part-songs,  etc. 

Golterman,  George  Eduard,  an  eminent 
player  and  composer  for  the  'cello,  born  in 
Hanover  in  1825.  In  '78  celebrated  his  25th 
anniversary  as  conductor  at  Frankfort. 

Golterman,  Louis,  professor  of  the  'cello  at 
Prague.     B.  1825  in  Hamburg. 

Gong,  a  Chinese  instrument,  made  of  bronze. 

GOSS,  Sir  John,  Mus.  Doc,  an  English  com- 
poser of  melodious  and  well  wiitten  church 
music     Born  1800.     Died  May  10,  1880. 

Gossec,  Fran9ois  Joseph,  a  French  composer 
of  operas  and  the  originator  of  symphonies 
for  orchestra.  A  very  celebrated  musician  in 
his  day,  and  still  held  in  honor  in  France. 
B.  1733.     D.  1829. 

Gotterd{eniinerun2;(got  -er-dam  -er-ung). 

"The  Twilight  or  llorning  of  the  Gods." 
The  fourth  and  last  piece  in  R.  Wagner's 
"  Ring  des  Nibelungen."      1876. 


a  aCCy  ii  add^  a  arm,  e  eve,  5  end,  1  ice,  1  ill,  o  old,  o  odd,  o  dove,  00  moon,  11  lute,  u  btct,  U  Fr.  sound 

26 


GOT 


DK-TIOXAKV. 


f;i;i 


GottMclialk.  Louis  AForeau,  a  (Ustingulshed 
Anifiiican  pianist.  Born  in  1829,  at  New 
Orli-ans,  a  pupil  of  Ch.  Halle  and  Chopin  at 
Paris  in  1846.  He  made  brilliant  concert  tours 
through  Kurope  in  1S47  ;  in  1853  and  after 
he  played  in  all  parts  of  the  United  States, 
Central  America  and  South  America.  He 
died  in  Rio  de  Janeiro  in  1860,  where  he  oc- 
cupied an  important  artistic  position.  Gotis- 
chalk  was  of  a  semi-Spanish  nature,  loved  the 
passionate  and  effective,  and  as  a  composer 
is  genuinely  melodious  and  original,  though 
rarely  deeper  very  tender. 

Gott»<eliaI«;,  Alexander  Wilhelm,  a  Ger- 
man organist,  arranger,  and  litterateur,  born 
1877,  at  Mechelroda,  near  Weimar. 

(jioildiinol,  Claude  (goo  -de-mel),  a  celebrated 
trench  composer  and  teacher.  Born  in  the 
early  part  of  the  i6th  century,  supposed  to 
have  been  a  teacher  of  Palestrina.  Author 
of  church  music,  etc.  Was  killed  at  the 
massacre   of  St.  Bartholomew,  i5;2. 

(irOunod,  Chas.  (goo-no),  the  popular  com- 
poser, was  born  in  Paris,  June  17,  i8i8.  His 
mother  was  a  distinguished  pianist.  G.  was 
pupil  of  Halevy,  etc.  In  18:56  he  took  the 
"  Pri.xde  Rome."  In  1852  he  became  con- 
ductor at  the  Orpheon  in  Paris,  but  it  was 
only  after  a  number  of  failures  in  other  pro- 
ductions that  his  ''Faust"  in  1859  placed 
him  in  the  front  rank  of  living  compo- 
sers. Gounod  has  resided  much  in  England. 
As  a  composer  he  is  learned,  ingenious  and 
masterly  in  orchestration,  and  his  works  are 
on  the  whole  rather  sensuous  and  into.vicating 
than  inspiring.  His  songs  are  extremely  and 
deservedly  popular. 

CoOW,  Neil,  a  Scotch  composer,  born  in  1727. 
DiediSo7.  '   ' 

G'rsibcn-IIoflrmanil.  Gustav  (gra -ben),  a 
German  song-composer  and  teacher  of  sing- 
ing at  Dresden.     Born  1820  at  Bonn. 

Grace  Xotes,  the  Knglish  name  for  orna- 
ments in  singing,  or  in  melody  in  general, 
such  as  appogiaturas,  after-notes,  etc.  2.  A 
small  note. 

Gradual,  a  short  anthem  sung  at  High  Mass, 
between  the  Epistle  and  the  Gospel  for  the 
day.  Also  used  by  French  composers  as 
title  for  organ  pieces. 

Gradlial,  The  Roman,  a  vi'umc  of  Ritual 
music,  containing  the  plain  song  melodies  for 
use  throughout  the  year. 

GradiiM  ad  Fariia.sMuni.  the  title  of  two 

eminently  instructive  works  in  musi:.  i. 
Fax's  treatise  on  counterpoint  and  fugue, 
1725.  2.  dementi's  100  exercises  in  all  styles 
of  piano-forte  playing.     1784.     (See  Etudes.) 

Grailllliar  of  :flllNie,  the  laws  of  musical 
speech.  Embracing  Tonality,  Harmony, 
Counterpoint,  Fugue,  Form  and  Orchestra- 
tion, or  the  entire  art  of  musical  composition. 
This  mass  of  material  has  never  yet  been 
thoroughly  systematized  and  .set  in  order. 

Grand  Piano,  the  long  piano-forte,  with 
three  legs,  and  keyboard  at  the  large  end.  Its 
merits  are  longer  bass  strings  and  conse- 
quently more  pervading  tone,  larger  sounding- 
board,  more  powerful  action,  and  greater 
carrying  power  of  tone. 

4>;rand  ronoort,  properly  a  concert  in  which 
an  orchestra  pl.iys  the  accompaniment.  First 
so  called  in  1777. 


Grand  Op«>ra.  opera  in  which  all  the  dia- 
logue is  carried  on  in  recitative. 

4>irand  Trix  de  Itonic.  a  prize  offered  by 
the  Paris  "Acadcmie  of  Fine  Arts."  entitling 
the  successful  contestant  to  a  pension  for 
studying  at  Rome. 

<>randiOMO  (Ital.  grifn-dl-o -zO).  Grandly; 
in  a  dignified  manner. 

Graun.   Heinrich,  born    1701,  died   at    Berlin. 

1759.  .\uthor  of  many  operas  and  other 
works,  chief  of  which  are  his  "  Te  Deun.  " 
and  "  Der  Tod  Jcsu."  a  Passions  cantata. 
G.  was  a  fine  contrapuntist,  and  a  good  har- 
monist. 

Grave  ( Ital.  gr:i-ve), grave.  A  slow  and  solemn 
movement.     A  low  pitch. 

<>ravita(ltal.  grii'-vp-tai.    Gravity ;  majesty. 

<«raxia  fltal.  grad'-zf'-a).     Grace;  elegance. 

<.irazioNO  (Ital.  grifd-ze-o -zO).     Gracefully. 

Greatorex,  H.  W.,  an  American  author  of  a 
collection  of  psalmody.     Lived  in  Boston. 

Greatorex.  Thomas,  an  English  composer  of 
church  music,  and  organist  (1819)  of  West- 
minster .Abbey,  in  which  he  is  buried.     1758- 

1831. 

Great  Ors^an.     The  principal  department  of 

the  organ,  embracing  all  the  most  powerful 
stops,  controlled  by  the  hands  from  the  key- 
board called  "  Gre.it."  Large  churches  h.id 
formerly  two  or  more  organs  ;  a  large  one,  for 
voluntary  playing,  in  the  tower,  and  a  soft 
one,  for  accompaniment,  in  the  chancel.  This 
is  perhaps  the  orijjin  of  the  term  as  applied 
to  the  most  powerful  part  of  large  organs. 

Great  Octave.  The  German  name  for  the 
notes  between  8  ft.  C  and  the  B  next  above 
(9  notes  below  middle  C). 

Greene.  Maurice,  Mus.  Doc,  an  old  English 

composer  of  church  music.     1696-1755. 

Greensleeves.  an  old  English  ballad  and 
tune  mentioned  by  Shakspearc  (..Merry  Wives, 
ii.  I  ;  v.  5). 

Gregorian  Modes,  the  musical  scales  set  in 
order  by  Pope  Gregory  the  Great,  A.  D.  590. 

GreUTOrian  Tones,  or  tunes,  the  melodies  or 
Plain  Son;;,  for  the  Roman  Ritual,  established 
by  Ciregory  the  Great.     (590.) 

Greek  lliisie.  appears  to  have  been  chiefly 
melodic.  Its  notation  is  so  impirfect  that 
antiquarians  entirely  disagree  in  their  in- 
terpretations of  the  same  melody.  It  is 
literally  "  all  Greek  to  us.'' 

Gretry.  -Andre  (era-trl),  was  an  extremely 
prolific,  popular  and  gifted  composer  of  over 
50  operas,  many  symphonies,  etc.  Born  at 
Liege  1741.     Died  at  Paris  1813. 

Griesbaell.  John  Henry,  an  English  'cellist 
teacher,  composer  of  an  oratorio,  "  BcKhaz- 
zar's  Feast,"  overtures,  operettas,  etc.  Bom 
at  Windsor  179S.  Was  14  times  director  of  the 
Philharmonic  Society.     D.  1875. 

Griea:.  Edward  (greeg),  composer  and  pianist. 
Born  June  15,  1843,31  Bergen,  in  Norway,  is 
a  pleasing  and  rom.intic  composer  of  songs, 
overtures,  sonatas  for  piano  solo  and  pi.ino 
and  violin,  a  concerto  for  the  same  and  or- 
chestra, etc.  Was  educated  at  Leipsic.  Is 
teacher  and  conductor  at  Christiana. 


a  ale,  a  add,  ii  arm,  r  ,  .  v,  r  c„d,  J  ice,  X  ill,  6  eld,  i,  odd,  o  djvc,  00  moon,  u  lute,  I'l  but,  U  /•>.  sound 

27 


GKI 


DICTIONARY. 


HAR 


■Crrisi,   Guilia   (jiool-ia  gree  -zee),  one  of  the 

most  celebrated  operatic  singers  (soprano). 
Born  at  Milan,  1810,  made  a  brilliant  debut 
in  1829,  and  Bellini  wrote  his  Adalgisa  in 
"Norma"  for  her.  From  1834  until  1861  she 
sang  in  London  and  throughout  Europe.  Was 
married  to  Signor  Mario,  the  great  tenor,  by 
whom  she  had  three  daughters.     Died  1869. 

CJrOSSVatertaJia!,  "  Grandfather's  Dance,'' 
a  curious  old  German  dance,  theconventional 
signal  of  the  end  of  dancing  in  German  balls. 

Cil'OUp.  several  short  notes  connected  by  their 
stems.     A  figure  of  tone-s,  a  motive. 

<Srouiltl  Bass,  a  set  bass,  on  the  repetitions 
of  which,  by  mean-;  of  variations,  etc.,  an  en- 
tire composition  is  built  up.     An  old  device. 

CirutZIIiacher.  F.  W.  L.  (grutz'-makh-er),  a 

distinguished  German  'cellist,  and  composer 

for  his   instrument.     Born  at   Dresden   1832. 

Lives  at  Dresden. 

4jtuariiieri,  or  iiiuariierius   (gwa-na  -ri- 

us),  a  family  of  celebrated  violin-makers, 
living  in  Cremona.  They  were:  Andreas, 
whose  best  work  was  made  between  1662  and 
1680;  Peter,  1670-1717  ;  Antonio,  best  work 
1725-1745;  Joseph  del  Gesu  (so  called  from 
the  letters  L  H.  S.  on  his  tickets). 
<>ilt$|;'liel!Ili,  Pietro,  a  favorite  Italian  composer, 
1727-1804.  His  son  Pietro  was  also  a  popular 
composer  of  operas,  etc.     1763-1817. 

'Onillauine  Tell  (gweel'-yom  teh,  "  William 
'I'ell."  Opera  in  4  acts.  Rossini's  34th  and 
last.     1829. 

Crtlllniailt.  Alexander  (geel-man),  a'  distin- 
guished French  organ  virtuoso  and  composer, 
son  of  an  organist,  born  at  Boulogne,  Slarch 
12,  1837.  Organist  of  the  church  of  the  Trinity 
at  Paris. 

CrUitar.  a  well  known  stringed  instrument  of 
very,  limited  musical  resources,  but  vastly 
romantic  associations.  Strung  with  si.\ 
strings,  tuned  E  A  D  G  B  G.  Practical  only 
for  vocal  accompaniment,  and  in  very  limited 
range  of  harmony. 

CJuilJs'l.  Joseph,  a  favorite  dance  composer  of, 
the  present  time,  born  1810  in  Hungary.     He 
has  a  celebrated  orchestra  in  Berlin.    Visited 
America  in  1848. 

Gl'IippettO  (Ital.  groo-pet  -to).  Literally  "  a 
little  group,''  i.  e.,a.  turn. 

Ouida  (Ital.  gwee -dii).  A  guide  or  direct,  an 
obsolete  mark. 

B.  (hii),  the  German  name  for  B  natural.  Their 
B  is  our  B  flat.     The  key  having  five  sharps, 

Habciieoli,  Francoise  Antoine,  a  French 
violinist,  conductor,  and  professor  of  the  violin 
at  the  Conservatoire,  etc.  H.  was  the  first  to 
introduce  Beethoven's  symphonies  in  France. 
B.  1781.     Died  1849. 

Haberbier.  Ernst  (hab'-er-beer\  a  distin- 
guished German  virtuoso  pianist,  was  born  at 
Konigsberg,  Oct.  =;,  1813,  the  son  of  an  organ- 
ist. Made  concert  tours  in  Europe  in  i850-'52, 
and  in  1866  was  living  as  director  of  music  at 
Bergen  in  Norway.  Died  March,  1869.  H. 
was  remarkable  for  his  brilliant  "  interlocking" 
passages. 

Halevy,  Jacques  F.  F.  E.  (jak  hal-ev-a),  a 
Jew,  whose  real  name  was  Levi.  Born  in 
Paris,  1799.  Studied  with  distinction  at  the 
Conservatoire,  and  by  1828  became  a  promi- 
nent composer  of  operas  in  Paris.  His 
greatest  was  "  La  Juive"  (1835).     Died  1862. 


Half  Beat,  a  name  applied  to  the  second  half 
of  a  time-pulse. 

Half  Xote.  an  open  note  with  stem,  formerly 
called  minim. 

Half  Step,  the  interval  produced  by  two  suc- 
cessive keys  on  the  piano-forte.  This  term 
is  indefinite,  and  stands  for  any  kind  of  a 
semitone,  whether  diatonic  or  chromatic. 
Varies  from  24  .  25  to  16  :  15. 

Half  Sllift,  a  position  of  the  hand  in  violin 
playing  between  open  and  first  shift. 

Halle.  Clias.  (hal-a'),  the  celebrated  classical 
pianist,  born  April  1 1,  1819,  at  Hagen.  Stud- 
ied with  Rink  at  Darmstadt,  and  later  with 
Cherubini,  Chopin,  Liszt,  etc.,  at  Paris. 
Settled  in  London  in  1849,  since  which  he  has 
played  in  public  every  season,  and  is  a  lead- 
ing teacher  of  piano.  Hall^  has  played  in 
public  the  entire  33  sonatas  of  Beethoven, 
twice  in  two  successive  seasons. 

Ha^utlel,  Geo.  Fnedrich  (hen  -del).  See  His- 
torical Sketches.     Born  1685.     Died  1759. 

Hand  (wuide,  a  mechanical  contrivance  affi.ved 
to  the  piano-forte,  designed  lo  facilitate  the 
acquisition  of  correct  position  and  movements 
of  the  hand  and  wrist.  The  least  objection- 
able is  BOhrer's. 

Handel  and  Haydn  Soeiety,  a  cele- 
brated vocal  society  of  mixed  voices,  at  Bos- 
ton, which  has  been  one  of  the  most  impor- 
tant influences  in  the  elevation  of  American 
musical  taste.     Founded  1815.     Still  active. 

Hamlet,  Grand  opera  in  5  acts.  By  Ambroise 
Thomas.     1868. 

Hammer,  that  part  of  the  piano  action  which 
strikes  the  strings  for  the  purpose  of  produc- 
ing vibrations.  Hammers  are  now  made  of 
light  wood,  covered  with  felt  made  from  the 
finest  wool.  The  felt  is  put  on  by  hydraulic 
pressure. 

Hammer  Clavier,  the  piano-forte. 

Hanover  Square  Rooms,  a  celebrated 
concert  hall  in  London,  opened  in  1775, 
variously  remodelled,  and  finally  sold  for  a 
cl5b  house  1875. 

Hamerik,  Asger  (as-ger  ham-er-eek),  a  dis- 
tinguished Danish  composer,  born  Apiil  8, 
1843,  at  Copenhagen.  Was  educated  in  Ger- 
many and  England,  and  composed  operas,  of 
which  he  wrote  both  words  and  music  himself. 
In  1872  he  became  Musical  Director  of  the 
Peabody  Institute  in  Baltimore,  Md.  Several 
of  H's.  compositions  for  orchestra  have  been 
played  with  great  favor  by  Theo.  Thomas. 

Hansliek,  Eduard,  a  prominent  pianist,  and 
a  discriminating  and  celebrated  critic  and 
writer  on  music  in  the  Vienna  "  Freie  Presse'' 
Born  Sept.  11,  1825,  at  Prague,  was  a  pupil 
of  Tomaschek,  and  educated  in  law  at  the 
University  of  Vienna,  .Attracted  attention 
as  a  critic  as  early  as  1S4S.  In  1859  and  after, 
he  has  given  several  courses  of  lectures  on  the 
History  of  Music. 

Harmoniea,  a  musical  instrument  the  tones 
of  which  are  produced  by  vibrations  of  cir- 
cular glass  plates  strung  on  a  horizontal 
spindle,  revolved  by  meansof  a  treadle.  The 
lower  edges  of  the  plates  dip  in, a  trough  of 
water.  The  tones  were  obtained  by  rubbing 
the  plates  with  the  tips  of  the  fingers.  The 
tone  was  delicate  and  pleasant,  but  had  little 
artistic  value. 

2.  This  name  is  now  given  to  a  set  of  glass 
rods  or  bars  strung  on  tapes  and  struck  by 
hammers. 


;a  ale,  a  add,  ii  arm,  e  eve,  e  end,  i  ice,  t  ill,  0  old,  6  odd,  o  dove,  00  moon,  u  lute,  u  but,  u  Fr.  sound 

28 


IIAK 


DICTIONAKY. 


HAL 


Harmon icM,  the  overtones  which  form  part  of 
complex  tones.  Supposing  C  to  be  the  funda- 
mental, the  harmonics  would  be  as  shown  in 
the  following  table : 


rt 

n 

T) 

u 

W 

V 

> 

V 
> 

-n 

C4 

-c" 

a 

1-. 

n 

o 

*^ 

o 

b 

o 

U^ 

o 

r^ 

C 


9       lo 
D      E 


tM      w      O 

12345678 

CCGCEGBiJC 

2.  The  soft,  flute-like  tones  obtained  from 

a  vibrating  string,  by  lightly  touching  it  with 

the  finger  at  proper  points  of  division. 

Harmonic  Flute,  a  flute  stop  in  the  organ, 

over-blown  so  as  to  speak  the  octave  above 

its  normal  pitch,  thus  acquiring  a  clear  and 

ringing  quality.    Of  metal  or  wood,  the  latter 

called  "  traverse  flute." 

Harmonic  Stops,  organ  stops  not  of  the 
foundation  pitch  ;  such  as  octave,  twelfth, 
fifteenth,  mixture,  etc. 

Harmonie  Musik  (Ger.  har-mo-nee  moo- 
zeek  ).  The  wind  instruments  in  the  orches- 
tra. 

Harmonic  Progression,  movement  from 

one  chord  to  another. 
Harmonium,  a  reed  instrument  of  the  ser- 
aphine  family,  in  which  the  vibrations  are  oc- 
casioned by  wind  forced  out  from  the  bellows 
through  the  reeds  ;  whereas  in  reed  organs 
the  wind  is  sucked  in  through  tlie  reeds.  In- 
vented by  Alexandre  Debaui  in  1840. 

Harmony,  the  legitimate  association  or  com- 
bination of  sounds.  The  theory  of  H.  in- 
volves the  formation  and  permutations  of 
chords,  and  their  proper  connection  and 
movement  according  to  the  principles  of  ton- 
ality. Usually  acquired  by  much  practice  in 
writing  after  "  figured  bass.'' 

Harmonic  Se«iuence,  a  sequence  or  suc- 
cessive repetitions  of  a  harmonic  figure  ;  e.g:, 
the  chords  of  C  G,  A  E,  F  C,  etc.,  a  sequence 
of  descending  fourths. 

Harmonic  Figure,  a  determinate  succession 
of  fundamentals  or  inversions  in  harmony  ; 
e.  £".,  let  the  figure  be  of  two  chords,  the  sec- 
ond fundamental  ascending  a  fourth.  The 
bass  then  is  C  F,  or  D  G,  or  E  A,  or  F  m. 

Harmstoil,  J.  W.,  a  popular  composer  of 
salon  music. 

Harold  en  Italic,  the  4th  of  Berlioz's^  5 
symphonies,  op.  16,  i3j4.  A  descriptive 
work  in  four  movements,  t.  Harold  at  ihe 
Mountains.  2.  March  of  the  Pilgrims  and 
Evening  Prayer.  3.  Serenade:  4.  Orgie  de 
Brigands. 

Hai'P,  one  of  the  oldest  instruments,  represen- 
tations of  which  occur  in  the  decorations  of 
tombs  at  Thebes,  supposed  to  date  from 
about  the  time  of  Joseph.  The  simple  harp 
produces  the  tones  of  the  diatonic  scale  only. 
Double  action  harps  aftbrd  sharps  and  double 
sharps  by  the  action  of  pedals  moving  pins  on 
revolving  disks  in  such  a  way  as  to  shorten 
the  string  and  raise  the  tone.  Each  pedal 
sharps  all  the  notes  of  the  same  name  through- 
oift  the  compass  of  the  instrument.  This 
action  was  invented  by  Sebastian  Erard.  The 
harp  is  tuned  to  the  key  of  Qb. 


Harper,  a  celebrated  family  ot  English  trumpet- 
ers, of  whom  the  elder,  'J'/toinas,v.a.s  born  1787, 
and  was  the  greatest  trumpeter  in  England 
from  1806  to  his  death  in  1S53.  His  son 
Thomas  succeeded  him  in  all  his  positions. 
The  elder  Harper  played  a  slide  trumpet, 
and  produced  a  pure,  brilliant,  even  tone. 

Harpsichord,  the  predecessor  of  the  grand 
piano.  Had  from  4  to  S>^  octaves.  The 
wires  were  mide  to  vibrate  b)^  means  of  plec- 
tra or  quills  acting  on  the  strings  by  friction 
instead  of  percussion,  as  in  the  piano-forte. 
Invented  as  early  as  1600.  Gave  place  to  the 
piano-forte  about  the  beginning  of  the  pre- 
sent century. 

Hsertcl,  Benno,  a  talented  German  musician, 
and  teacher  of  theory  in  Joachim's  Royal 
Academy  of  Music  at  Berlin.     B.  1846. 

Hartmann,  Freidrich,  a  noted  song  composer 
and  director.     Born  1803. 

Hartmann,  Johann  Peter  Emil,  a  distin- 
guished Danish  piano-forte,  vocal,  orchestral 
and  operatic  composer,  born  at  Copenhagen 
1805.     Lives  at  Copenhagen. 

Harvard  llusical  Association,  The, 
in  Boston,  a  society  designed  to  promote 
musical  culture  by  giving  classical  concerts,, 
etc.,  in  Boston  and  Cambridge.  Organized 
1837,  largely  through  the  efforts  of  Mr.  John 
S.  Dwight,  who  is  still  secretary  (.1880). 

Haslingcr,  a  distineuished  firm  of  music  pub- 
lishers at  Vienna,  founded  1826.  One  of  the 
original  publishers  of  Beethoven's  works. 

Hasse.  Johann  Adolph  (has  -se),  for  a  third  of 
the  i8th  century  one  of  the  most  popular  dra- 
matic composers  in  Europe.  Born  1699  at 
Bergedorf,  Hamburg,  where  his  father  was 
schoolmaster  and  organist.  In  1724  became 
pupil  of  Porpora  at  Naples,  and  afterwards  of 
Alessandro  Scarlatti.  Began  his  career  as 
opera  composer  at  Naples.  In  1731  he  went 
to  Dresden,  where  he  lived  as  kapellmeister 
until  1760.  Died  in  Venice  1783.  He  wrote 
more  than  100  operas,  besides  masses,  canta- 
tas, psalms,  symphonies,  and  a  host  of 
smaller  works.  He  was  a  great  singer  and  a 
fine  pianist,  and  had  an  inexhaustible  flow 
of  pleasing  melody. 

Has.se,  Faustina  Bordoni,  wife  of  the  foregoing, 
a  great  operatic  singer,  noted  fir  the  beauty 
of  her  voice,  her  exquisite  method,  pleasing 
manners  and  amiability.     1700-17S3. 

Uatton,  John  Liphot,  born  in  Liverpool  1809, 
is  one  of  the  foremost  composers  in  Eng- 
land at  the  present  time.  Has  composed 
music  for  several  of  Shakspeare's  plays,  an- 
thems, part-songs,  operas,  and  last  the  sacred 
drama  "  Hezekiah,"  produced  at  the  Crystal 
Palace  in  1877.  Hatton  is  a  fine  accompanist, 
and  visited  this  country  in  that  capacity  in 
1848,  and  again  with  Parepa  in  1S67. 

Hauk,  Minnie  (hawk,  or  howk),  born  in  New 
York  to  a  German  father  in  18^2.  Made  her 
debut  as  A  minn  in  Sonnambula  in  1868. 
From  1869,  she  sang  (or  several  years  in  Vien- 
na, Berlin,  Paris  and  Brussels  in  a  large  range 
of  parts.  Revisited  .\merica  with  Mapleson  in 
1879.  Her  voice  is  a  mezzo  soprano  of  great 
force  and  richness. 

Haupt  (Ger.  howpt).     The  head  or  chief. 


a  aU^  a  add,  a  arm,  e  eve,  e  end,  t  ice,  I  ///,  o  old,  o  odd,  6  dove,  00  moon,  u  lute,  \\  but,  u  Fr.  sound 

21) 


HAU 


DICTIONARY. 


HER 


Huupt,  Karl  August  (howpt),  one  of  the  most 
distinguished  German  organ  virtuosos  of  the 
present  time,  was  born  in  iSio  at  Cunau. 
btudied  at  Belflin  with  A.  \V.  Bach  and  Dehn, 
and  appeared  in  public  in  1831.  Has  made 
many  concert  tours  to  France  and  England, 
and  throughout  Germany,  and  for  many  years 
has  occupied  a  commanding  position  in  Berlin 
as  organist  and  teacher  of  organ  and  theory. 
Among  his  American  pupils  are  Prof  John  K. 
Paine,'  of  Harvard,  Mr.  H.  C.  Eddy,  of  Chi- 
cago, and  Samuel  P.  Warren,  of  New  York. 

Hatiptmann,  Moritz  (howpt -man),  the  great 
theorist,  was  born  in  1792  at  Dresden.  Studied 
the  violin,  on  which  he  distinguished  himself, 
and  was  from  1812  to  1818  a  violinist  at  Eh-es- 
den,  and  again  from  1822  at  Kassel,  where 
also  he  taught  theory,  and  had.  among  his 
pupils  Ferd.  David,  Curschmann.  Norbert 
Burgmiiller,  Kiel,  etc.  In  1842  he  became 
cantor  of  the  St.  Thomas  school  and  church, 
in  Leipsic,  and  teacher  in  the  Conservatory, 
where  he  maintained  his  rank  as  one  of  the 
greatest  theorists  of  his  time.  Died  1868. 
He  was  a  fine  composer  of  songs,  motettes 
and  church  works.  He  laid  great  stress  upon 
two  aesthetic  requirements,  unity  of  idea  and 
symmetry  of  form. 

Haiiptwerk.  (Ger.  howpt'-vark).     The  Great 

Organ. 
Hautbois  (Fr.  ho-bwa).    The  oboe. 
Hautboy  (Eng.)     The  oboe. 

JHawkillH,  Sir  John,  born  1719,  was  educated 
for  a  lawyer,  but  being  fond  of  music  wrote 
words  for  cantatas,  etc.,  and  finally  his 
General  History  of  the  Science  and  Practice 
of  Music,  in  5  vols.,  1776.  This  has  been  re- 
printed by  the  Novellos.  H.  was  one  of  the 
e.\ecutors  of  Dr.  Johnson's  will.  Died  1789, 
and  was  buried  in  Westminster  Abbey. 

Haydn*  Francis  Joseph  (hl'-dn),  father  of  the 
string  quartette  and  symphony,  was  born  near 
Vienna  1732.  Died  1809.  See  Historical 
Sketches,  p.   157. 

Haydn,  Michael,  younger  brother  of  the  pre- 
ceding, was  a  fine  musician,  and  a  successful 
composer,  although  his  fam.e  has  been  too 
much  over-shadowed  by  his  greater  brother. 
Born  1737.     Died  1806. 

Hayes,  Catherine,  a  very  popular  Irish  soprano, 
born  in  182;.     Died  1861. 

Head  Voice,  the  falsetto  register,  which  in 
men  has  more  or  less  the  quality  of  the 
female  voice,  and  in  women  a  flute-like  qual- 
ity. 

H  dlir  (Ger.  ha  dur)  the  key  of  B  major. 

Hebrides,  The.  One  of  the  names  of  Mendels- 
sohn's concert  overture  in  B  min.  op.  26, 
Called  in  Germany  "  Fingals  Hohle,"  and 
"  Die  einsame  Insel."     1831  or  1832. 

Heftig  (Ger.  hef  tig),  vehement,  boisterous. 

Heiter  (Ger.  hi -ter),  serene,  bright. 

Heiss  (Ger.  his),  hot,  ardent. 

Heinikebr  aus  der  Frenide,  German 
name  of  Mendelssohn's  operetta,  "  The  Son 
and  Stranger." 

Heller,  Stephen,  the  universally  known  and 
elegant  composer  of  etudes  and  salon  pieces 
for  piano,  is  an  accomplished  pianist.  He  was 
born  May  15,   1815,  at  Pesth.     Since  1838  he 


has  resided  in  Paris,  rarely  playins  in  public, 
but  highly  esteemed  as  teacher  and  composer. 
His  studies  op.  45,  46  and  47,  as  well  as  the 
older  set  op.  16,  have  been  in  universal  use 
among  piano  students,  and  for  elegance  and 
refinement  of  diction  they  are  not  equalled  by 
other  works  of  similar  difficulty.  They  are, 
however,  open  to  the  pedagogic  objection  of 
being  extremely  unprogressive,  easy  and 
difficult  ones  strangely  alternating. 

Helmesberger,  Joseph,  a  member  of  a  dis- 
tinguished musical  family  in  Vienna,  was 
born  in  1828,  appointed  violin  professor  and 
director  of  the  Conservatory  at  the  early  age 
of  24.  In  i860  he  was  appointed  first  violin 
at  the  Imperial  opera,  etc.  He  leads  quartette 
parties  every  season.  His  playing  is  noted 
for  grace,  poetic  quality,  refinement,  and 
brilliancy. 

Helniholtz,  Hermann  L.  F.,  the  celebrated 
investigator  of  sound,  and  the  physiology  of 
music,  was  born  at  Potsdam,  1821.  Is  pro- 
fessor in  the  Berlin  University.  His  great 
work,  "  Tone  Sensations,"  is  now  translated 
into  English. 

Helniore,  Rev.  Thomas,  an  English  clergy- 
man, author  of  several  works  in  church  mu- 
sic devoted  mainly  to  the  restoration  of  the 
Plain  Song.     B.  1811.     Educated  at  Oxford. 


HenkeS, 


a  prolific   composer  of  organ 


and  church  pieces,  was' born  at  Fulda,  1780. 
D.  i8si.  His  son,  Geo.  Andreas.v,s.i  born 
1805,  and  was  also  a  prolific  composer.  D.  1871.  A 
younger  brother,  Heinrich^  b.  1822,  is  a  dis- 
tinguished organist,  and  in  1844  was  elected 
organist  of  St.  Eustache,  in  Paris.  Lives  at 
Frankfort-on-the-Maine. 

Henscliel,  George,  born  Feb.  18,  1850,  was 
first  a  pianist,  but  at  present  the  leading  bari- 
tone singer  in  England.  Is  also  a  prolific  and 
talented  composer. 

Hensel,  Fanny  Cecile,  an  elder  sister  of  Men- 
delssohn, was  born  1805.  Was  a  fine  player 
and  a  good  musician.     Died  1847. 

Henselt,  Adolph,  one  of  the  most  distin- 
guished virtuoso  pianists  of  the  present  day, 
but  so  nervous  that  he  rarely  plays  in  public, 
was  born  May  12,  1814,  in  Bavaria,  and  since 
1838  resident  in  St.  Petersburg.  H.  was  a 
pupil  of  Hummel,  but  is  distinctly  a  virtuoso 
of  the  modern  school.  H.  is  a  fine  musician, 
and  a  very  successful  teacher.  As  a  composer 
he  has  decided  originality  and  poetic  value, 
though  perhaps  not  such  as  will  rank  him 
permanently  with  the  highest.  His  piano- 
forte concerto  is  regarded  as  one  of  the  most 
difficult  ever  written. 

Heptachord,  a  .scale  or  system  of  seven 
sounds. 

Herculaneum,  opera  in  4  acts,    by   Felic. 

David,  1S59. 

Hercules,  a   musical  drama   or  'oratorio,  by 

Handel,  1744. 

Herold,  Louis  Joseph  Ferdinand,  one  of  the 
most  gifted  of  the  French  opera  composers, 
was  born  at  Paris  1791,  the  son  of  a  pianist. 
His  earliest  success  was  in  1813,  but  he  com- 
posed a  large  number  of  operas  before  he 
achieved  a  cosmopolitan  success  in  "  Zampa" 
in  1831.  H.  died  young,  just  at  the  maturity 
of  his  powers,  in  1833,  .aged  42. 


a  ale^  a  add^  a  arm,  e  eve,  e  end,  i  ice,  1  ///,  o  old,  6  odd,  6  dove,  00  moon,  u  lute,  vl  but,  u  Fr.  sound 


30 


HER 


DICTIONARY. 


II  OF 


Herrilliilin,  Gottfried,  a  many-sided  German 
musician  and  composer,  born  1808  at  Sonder- 
hausen,  educated  by  his  father,  a  violoncelist, 
and  afterwards  with  Spohr,  Aloys  Schmitt, 
etc.  Since  1839  he  has  occupied  a  very  hi.^h 
position  as  conductor,  opera  composer,  and 
teacher  of  singing,  not  only  at  Sonderhausen 
and  LUbeck,  but  in  many  festivals,  etc. 

Hers^cliel.  Frederick  William  (Sir  William 
Hersjhel),  the  great  astrononier,  was  born  at 
Hanover  in  173S,  and  at  the  age  of  14  was 
placed  ill  the  orchestra  as  oboeist.  He  came 
to  England  with  the  regiment  about  1757,  and 
was  stationed  at  Durham.  He  soon  became 
organist  at  Halifax,  and  afterwards  at  Bath. 
While  living  here  he  turned  his  attention  to 
astronomy,  and  pursued  his  studies  in  the 
intervals  of  his  professional  duties  for  many 
years.  In  1781  his  discovery  of  the  planet 
Uranus  by  means  of  the  great  telescope  which 
he  had  budt,  procured  his  appointment  of 
private  astronomer  to  the  king,  and  a  pen- 
sion of  £400,  whereupon  he  abandoned  the 
musical  j>rufcsslon.     i).  1S22. 

HertiK,  Michael  (mik  -el  hartz),  piano  virtuoso 
and  composer,  is  one  of  the  most  talented 
young  musicians  in  Germany.  Was  educated 
at  Leipsic,  and  at  present  teaches  at  Berlin. 
Born  1844  at  Warsaw. 

Ucrz,  Henri,  a  much  admired  composer  and 
pianist,  was  born  in  1806  at  Vienna,  and 
learned  music  of  his  father.  In  i8i5  he  was 
entered  at  the  Paris  Conservatoire,  and  two 
years  later  began  to  compose.  His  concert 
tours  from  1831  to  1834  were  made  chiefly  in 
Germany  and  France.  In  the  latter  year  he 
came  to  England,  and  in  1846  to  1850  to  the 
United  States  and  South  America.  In  1851 
he  was  back  in  Paris  and  professor  at  the 
Conservatoire,  which  he  relinquished  in  1874. 
He  set  up  a  piano  factory  of  his  own  in  1853. 
and  his  instruments  hold  high  rank.  As  a 
compo^er  he  has  always  written  in  the  mode 
of  the  day. 

Ilesise,  Adolph  (hes-se\  a  great  organist  and 
elegant  composer  for  ttje  organ,  as  well  as  in 
most  other  forms  of  music.  He  was  born  at 
Breslau,  Aug.  30,  i8og,  and  in  1831  became 
organist  there.  He  made  concert  tours  to 
Paris,  England  and  throughout  Germany. 
Died  August  5,  1863. 

Slexacltoril.  a  scale  of  six  sounds,  having  a 
semi-tone  between  the  third  and  fourth,  and 
major  seconds  elsewhere.  2.  A  lyre  of  six 
strings 

Hexailicron.  a  set  of  six  pieces,  or  songs. 
This  name  is  given  to  Liszt's  Variations  on 
"  I  Puritani"  for  two  pianos. 

Hidden  Fifths,  fifths  produced  by  the  pro- 
gression of  two  voices  to  a  pejfect  fifth  through 
similar  motion.  , 

Hig'll  Mass.  a  mass  sung  with  full  ceremo- 
nial. 

Hig'llland  Fling;,  a  step  in  dancing  peculiar 
to  the  Scotch  Highlands.  Also  the  dance 
itself.  The  music  to  which  it  is  danced  is  the 
Strathspey 

Hiller,  Ferdinand,  one  of  the  most  eminent 
living  German  composers  and  musicians,  was 
born  of  Jewish  parents  at  Frankfort-on-the- 
Maine,  Oct.  24,  1811.  He  studied  the  piano, 
violin,  and  composition,  partly  with  Hummel 
at  Vienna.  From  1828  to_  1835  he  lived  at 
Paris,  composing  and  teaching,  and  was  inti- 


mate with  Rossini,  Chopin,  Liszt,  Meyer- 
beer, Berlioz,  Nourrit,  Heine,  etc.  He  was 
the  first  to  play  Beethoven's  E  flat  concerto 
in  Paris.  .'Vfter  living  some  lime  at  Leipsic 
and  Dresden,  he  organized  the  Conservatory 
at  Cologne,  where  he  has  resided  ever  since. 
His  most  distinguished  pupil  is  Max  Bruch. 
Hiller  writes  in  a  classical  style,  and  has  pub- 
lished 183  works,  of  almost  every  kind;  chief 
of  them  being  his  "  Destruction  of  Jerusa- 
lem,'' "  Spring  Symphony,  '  and  Piano  con- 
certo in  K  sharp.  Hiller  is  a  polished  and 
genial  man,  who  has  never  Licked   friends 

Iftilloi*,  Johann  .4dam,  a  very  active,  produc- 
tive, and  influential  German  musician,  was 
born  at  Wendisch-Ossig,  in  Prussia,  1728,  and 
lived  indepciidently  at  Leipsic,  actively  em- 
ployed ill  promoting  public  concerts.  As  a 
composer  he  is  credited  with  having  enlarged 
the  scope  of  the  i-/t'<-/.     Died  1804. 

Hininiel.  Freid  Ilcinrich,  a  melodious,  but 
unimaginative  composer,  born  1765,  died  1814. 

Hodges,  Dr.  Edward,  an  English  musician  and 
organist,  was  born  at  Bristol,  1796,  and  was 
organist  of  Clifton  church.  In  1838  he  came 
to  New  York  and  became  organist  of  St. 
John's,  and  in  1S46  at  Trinity.  Returned  to 
England  1863.  Died  1867.  His  daughter, 
Faustina  J/asse  Hodges,  is  an  organist,  as 
is  also  his  son.  Rev.  J.  S.  Hodges. 

Hoirniann,  a  celebrated  name  in  literature 
and  music  in  Germany.  Among  the  chief 
composers  by  this  name  were:  Ernst  llieo~ 
dor,  a  highly  original  composer  and  liitera- 
ieur,  as  well  as  jurist,  b.  1776,  d.  1822.  H. 
was  an  extremely  clever  but  lantastic  news- 
paper writer,  and  many  of  his  pieces  have 
been  translated,  one  by  Carlyle.  He  wrote 
also  II  operas,  <a  requiem,  two  symphonies, 
etc.  Karl  Julius  A.  H.,  b.  1801  atRaiisbon, 
lives  at  Lobschiitz,  and  is  author  of  "  History 
of  Musicians  in  Silesia  from  960  to  1830," 
also  of  several  other  musical  histories,  as  well 
as  very  many  compositions,  songs,  chorales, 
piano  pieces,  concertos  for  different  instru- 
ments, an  operette,  etc.  yohann  George,  an 
organist  and  founder  of  musical  theory,  born 
1700,  died  1780.  Composer  of  many  church 
cantatas,  400  serenades,  concertos,  etc.  Lud- 
luig,  a  clever  composer,  b.  at  Berlin,  1830, 
where  he  lives  as  teacher  of  singing,  conduc- 
tor, etc.  Heinrich  Anton,  violin  virtuoso 
and  conductor,  1770- 1842.  His  brother, 
Phillip  Karl,  was  a  pianist  and  prolific  com- 
poser.    1769-1820. 

Hofniann,  Heinrich  (hin-rik),  a  talented  and 
progressive  composer  of  the  present  time. 
Born  Jan.  13,  1842,  iu  I'.erlin,  where  he  stud- 
ied piano  and  composition  with  Kullak, 
Dehn,  and  Wiierzt,  and  still  resides.  Is  the 
composer  of  operas,  symphonies,  songs, 
and  especially  a  number  of  very  successful 
cantatas  for  chorus  and  orchestra,  "The 
Fable  of  the  Fair  Melusine,'  "  Cinderell.i,'' 
"  Loreley,'' etc.,  which  have  been  extremely 
successful.  Hofmann  is  a  pleasing  composer, 
and  a  good  colorist  with  orchestra. 

Hofi'nian,  Richard,  a  distinguished  piano-forte 
virtuoso,  teacher  and  composer  in  New  York. 
Born  in  Manchester,  England,  May  24,  18-0. 
Came  to  New  York  in  1846  or  1847,  where  he 
has  since  held  high  rank  as  teacher  and 
pianist. 

Hoffman,  Edward,  brother  of  the  preceding, 
a  popular  writer  of  light  salon  pieces. 


a  ale,  a  add,  ii  arm,  e  ez'e,  e  end,  i  ice,  \  ill,  O  old,  o  odd,  5  dove,  00  jnoon,  u  lute,  u  but,  ii  />.  sound 


HOII 


DICTIONARY. 


HYP 


Holilfloto  (Ger.  hoi  -flo'-te),  hollow-toned 
flute.  An  organ  stop  producing  a  thick  and 
hollow  flute-tone.     Usually  of  8  ft. 

Hollhstock.  Karl,  a' distinguished  pianist, 
violinist,  and  musician,  of  Philadelphia.  Born 
1828  at  Brunswick.  Came  to  Philadelphia  in 
1848. 

Holden,  Oliver,  one  of  the  original  American 
psalir.odists,  acarpenter  by  trade.  Published 
his  "American  Harmony"  about  1790.  Died 
at  Charlestown,  1831. 

Holmes,  Alfred,  a  talented  composer  and  fine 
violinist.  Born  at  London  1837.  Died  1876. 
His  iirincipal  works  were  his  symphonies, 
"  Robm  Hood''  and  the  '"The  Siege  of 
Paris." 

Home  Sweet  Home.  This  melody  occurs 
ill  Bishop's  opera  of  "Clan,"  1823.  It  is 
designated  as  a  "Sicilian  Air,"  but  is  very 
possibly  Bishop's  own. 

Iloinopliony,  the  same  in  sound.  Equivalent 
t<j  unison^  and  opposed  to  Polyphony,  or 
manifold  sound.  Now  commonly  applied  to 
mlisic  in  which  the  parts  all  move  together, 
instead  of  imitations,  etc.,  as  in  polyphonic 
style. 

Hook  E.  &  G.  G.,  and  Hastings,  a  firm  of  organ 
builders,  established  in  Boston  about  :835. 
and  for  the  last  twenty  years  occupying  the 
foremost  place  among  American  builders. 
'I'heir  work  is  remarkable  for  sweetness  and 
purity  of  voicing. 

HopkintS,  Edward  John,  an  English  organist 
and  composer  of  church  music,  born  at  West- 
minster i8;8.     Died  at  Ventnor  1873. 

Hopkins.  E.  Jerome,  an  indefatigable  teacher 
of  chorus  singing,  and  eccentric  pianist  and 
organist  in  New  York  son  of  the  late  Bishop 
Hopkins,  of  Vermont.  H.  publishes  "  The 
OrpJieoiiist^'  a  curious  musical  periodical. 

Horn.   IPreneli    Horn,    one    of  the   most 

characteristic  and  important  brass  instruments 
in  the  orchestra.  Is  composed  of  a  tube  17 
feet  in  length,  rolled  into  a  spiral  form, 
riodern  instruments  are  furnished  with  valves 
on  the  same  plan  as  those  of  the  cornet,  and 
crooks  for  the  purpose  of  changing  the  pitch 
of  the  whole  tube  The  tone  of  the  horn  is 
peculiarly  soft  and  pure.  1 1  is  an  e.vtremely 
difficult  instrument  to  learn  to  play,  and  the 
instruction  books  are  said  by  players  to  be  in- 
correct. 

Horneman.  Johann  Ole  Emil,  a  Danish  com- 
poser, b.  1809,  d.  1870,  at  Copenhagen. 

Horneman,  a  young  German  composer,  edu- 
cated at  Leipsic,  well  known  by  his  pretty 
overture  to  "Aladdin."     Born  about  1850. 

Hornpipe,  an  English  dance  in  common  time, 
r.i  ther  quick. 

Hor.sley,  William,  Mus.  Doc,  an  English  or- 
ganist, and  glee  and  church  composer.  Born 
1774,  died  1858. 

Hliebald  (hfik'-biild),  a  monk  of  St.  Amaud. 
in  Flanders,  born  about  840,  died  932,  aged 
92.  .The  author  of  the  earliest  treatise  on 
harmony  which  has  comedown  to  us.  Owing 
to  the  imperfect  notation  he  employs,  there  is 
some  doubt  as  to  the  real  intention  of  his 
music.  But  on  the  whole  it  sounds  to  us 
dreadfully  crude.  It  consists  of  parallel  4ths 
and  5ths. 


Huig^uenots,  Les.  Opera  in  5  acts,  by  Meyer- 
beer.    1836. 

Hllliall,  John,  LL.D.,  a  distinguished  teacher 
of  singing  and  musical  educator  in  England. 
Born  at  Worcester  1812.  Came  early  to  Lon- 
don, where  he  has  lived  ever  since.  In  1838, 
after  composing  several  small  operas,  Mr. 
Hullah  turned  his  attention  to  the  popular 
instruction  in  vocal  music  in  which  he  has 
ever  since  been  engaged.  Hullah  advocates 
the  "  fi.\ed  Do,"  as  distinguished  from  the 
"  movable  Do  "  of  the  'I'onic  Sol-P'a  schools. 
He  is  the  author  of  many  te.\t-books  of  mu- 
sic, lecturer  and  professor  of  vocal  music  in 
Queen's  College,  London,  and  Inspector  of 
Training  Schools  for  the  United  Kingdom. 
His  lectures  on  Musical  History  are  very  in- 
teresting,    (z  vols.) 

Humor  (Ger.  hu-mor).     Whim;  fancy. 

illimoreske  (Ger.  hii-mor-es-ke).  A  title 
adopted  by  Schumann  for  his  piano-forte 
piece,  op.  20. 

Humphry,  Pelham,  an  English  composer  of 
anthems,  songs,  etc.      B.  1647.     D.  1674. 

Hummel  (hum  -mel\  J.  N.,  a  celebrated  pian- 
ist, and  an  elegant  and  in  some  sense,  classi- 
cal composer  for  the  piano,  was  the  son  of  a 
musician,  and  born  at  Presburg,  1778.  About 
1786  He  became  an  inmate  of  Mozart's  house, 
and  for  two  years  enjoyed  his  instruction. 
He  traveled  several  yars  as  a  concert  pian- 
ist, studied  composition  at  Vienna  with 
Albrechtsberger,  was  front  1804  to  181 1  Capell- 
meister  to  Prince  Esterhazy  in  Haydn's  place, 
and  afterwards  lived  at  Weimar,  with  frequent 
journeys  to  Russia,  France,  England,  etc. 
Died  at  Weimar,  1837.  He  wrote  3  operas,  2 
masses,  much  piano  music,  etc.  He  had  good 
musicianship,  elegance  of  style,  but  little 
force  and  concentration.  As  a  pianist  he  was 
for  some  time  the  rival  of  Moscheles  at 
Vienna. 

Hunten,  Francois  (boon  -ten),  a  French  pian- 
ist and  composer,  author  of  n.aiiy  light  pieces 
for  piano,  studies,  etc.     B.  about  1810. 

Hlircly-gurcl.V,  an  obsolescent  instrument, 
som'ewhat  resemblinga  viola  or  large  violin. 
The  strings  are  made  to  vibrate  by  means  of 
the  friction  of  a  wooden  wheel  let  into  the 
belly,  just  above  the  tail-piece,  and  revolved 
by  means  of  a  crank.  Two  of  the  four  strings 
are  used  for  melody  strings,  or  chanters,  and 
are  stopped  by  means  of  keys  on  the  finger- 
board. The  other  two  are  drones  and  sound 
continuously  when  the  instrument  is  played. 
It  is  essentially  a  peasant's  instrument. 

Hntehinson  Family,  a  family  of  natural 
singers,  born  in  Milford.  New  Hampshire. 
Four  of  the  brothers,  born  from  1818  to  1828, 
were  very  noted  as  temperance  and  anti- 
slavery  singers  throughout  the  Northern 
States  and  England  from  1846  to  1858.  Later 
they  were  broken  up,  andarenow  represented 
by  John  and  his  ffimily  and  Asa  and  his 
family.  They  had  musicil  voices  and  sang 
simply. 

Hymn,  a  song  of  praise  to  Deity.  A  lyrical 
poem  for  singing  in  church. 

Hymn  of  Praise,  The,  a  cantata  by  Men- 
delssohn, in  1840. 

Hyper  iGr.    hi  -per).     Above. 


a  ale^  a  add.  a  ami,  e  eve,  6  end,  i  ice,  I  ///,  6  old,  6  odd,  o  </.':•_',  oo  /noon,  u  lute,  \\  luct,  i'l  Fr.  sound 


33 


lAM 


DICTIONARY. 


INT 


lamhlliS.  a  poetical  and  musical  foot,  consisting 
of  one  short  and  one  long  syllable. 

Idea,  a  theme  or  subject. 

Ideal,  that  which  is  expressive  of  the  idea.  See 
Part  IV 

Idonieiieo  Ite  di  Cveta  (ee-do-man-a-o 
rii  dee  kree-ta).  "  Idomeneo,  King  of  Crete," 
opera  seria  in  3  acts,  by  Mozart.     1781. 

Idyl.  i,i'-dil;.  or  Idylle  (Fr.  ee-dil),  a  short 
poem  in  pastoral  style  ;  an  eclogue. 

II  (Ital    eel.)  the. 

Im  (Ger.  in  d.'iii),  in  the. 

Iluag^iiiati<Mi.  the  faculty  of  forming  lively 
images  within  one's  mind,  of  scenes,  histories, 
sounds,  plays.     It  is  the  same  as  Phantasie. 

ImbOOCatlira  (Ital.  eem-b<3k-kii-too -ra). 
The  mouthpiece  of  a  wind  instrument. 

Inibrog'lio  (Ital.  eem-brol -yo),  confusion, 
want  of  distinct  ideas. 

Imitation,  the  repetition  of  a  melodic  figure 
or  motive  called  atitccedenty  previously  ap- 
pearing in  another  voice.  Imitation  takes 
place  '■  in  the  unison,"  /.f.,  at  the  samepitch, 
in  the  second,  third,  fourth,  etc.,  above  or 
below.  Strict  iinitatio7i  is  an  e.\act  repeti- 
tion of  the  antecedent  ;  Free  imitation  an 
appro.vimate  imitation,  one  or  more  of  the 
intervals  being  enlarged  or  diminished. 

Ininier  (Ger.  im'-mer).     Always,  ever. 

Imperfect,  less  than  perfect.  Applied  to  in- 
tervals to  denote  that  they  are  too  small. 

Iniperfeet  <'onsonances.  the  major  and 
minor  thirds  and  sixths,  as  well  as  their  com- 
pounds with  octaves. 

Imperfect  Cadence,  a  full  c.idence  in 
which  the  soprano  ends  on  the  third  of  the 
chord. 

Impeto  (Ital.  eem  -pii-tO).  Impetuosity,  ve- 
liemence. 

Inipetuoso  (Ital.  eem-pa-too-o-zo).  Impet  ■ 
uously,  vehemently. 

Impresario  (Ital.  eem-prS-za-re-o).  A 
manager  of  operas  or  concerts. 

Impromptu  (Fr.  fthn-promp'-too).  An  ex- 
temporaneous production.  A  light  and  spon- 
taneous composition. 

Improperia  (Lat.)  The  Reproaches.  A 
series  of  antiphons  and  responses  used  in  the 
solemn  service  of  the  morning  of  Good  Fri- 
day. 

Improvisare  (Ital.  em-prO-ve-zii -re).    To 

improvise. 

Improvisateur  (Fr.  ahn-pro-ve-za-tur ). 
.■\n  improviser. 

Improvissatore  (Ital  eem-pio-ve-sa-to-re). 
One  who  sings  or  declaims  in  verse  or  music 
extemporaneously. 

Improvisation,  the  act  of  singing,  playing, 
or  composing  music  without  previous  prepara- 
tion.    The  composition  so  produced. 

In  alt.  tones  above  the  F  of  the  5th  line  of  the 

treble  statT. 

In  altissimo  (Ital.al-tees-se-mo).  The  oc- 
tave above  the  preceding. 

Incalzando  (Ital.  een-kal-zan'-do).  Some- 
what quicker  (than  the  preceding  part). 

Incarnatus  est  (Lat.  Tn-kUr-na-toos  est), 
"  and  was  born."  A  part  of  the  Credo,  usual- 
ly set  to  slow  music. 


Indeciso  (Ital.  een-de-tshee-z6).  Undecided, 
wavering  ;  with  unsteady  time. 

Index,  the  old  name  for  "  direct,''  which  see. 

Indift'erente  (Ital.  cen -dif- fe -ran'- te). 
Coldly,  iMdifferenily. 

Infinite  Canon,  also  called  Endless  Canton. 
X  canon  without  proper  ending,  each  part 
leading  back  to  the  beginning,  like  a  round. 

Inflection,  any  change  of  pitch  or  modifica- 
tion of  the  tone  ot  the  voice. 

Infra  (Lat.  In'-fjii).     Beneath. 

Inlialt  (Ger.  en-halt).     Content  ;  meaning. 

Innig  (Ger,  Tn'-nlg).  Cordial,  fervent,  sincere, 
devout.  Used  by  Beethoven  and  Schumann 
in  the  last  senses. 

Innocentemente  (Ital.  een-nO-tshan-ti- 
man  -te;.    Innocently;  in  a  simple  and  artless 

style. 

In  Partita  (Ital.  piir-lee  -ta).     In  score.     See 

"  Score." 

In  4^uesta  Toniba  (Ital.  een  kwSs -tatom'- 
ba),  "  In  this  Tomb."  A  celebrated  contral- 
to song  of  Beethoven's.  1808.  Also  effective 
for  bass.    Much  sung  by  Mr.  M.  W.  Whitney. 

Inquieto  (Ital.  een-kwe-a'-to).  Restless,  un- 
easy. 

Instante  (Ital.  een-stan-te).     Instantly. 

Instantemente  (Ital.  een-stan-te-man  -te). 

Vehemently,  urgently. 

Institute,  Prix  de  1'  (prees  dii  lin-sil-tut), 
"  Prize  of  the  Institute."  A  prize  founded 
by  Napoleon  III  in  1839,  of  20,000  francs, 
awarded  biennially  to  the  member  of  the  In- 
stitute most  deserving  of  it.  It  has  once 
been  taken  by  a  musician,  Felicien  David,  in 
1867. 

Institute,  any  body  or  society  established  un- 
der law  for  a  particular  purpose. 

Institute  Rationale,  a  great  national  in- 
stitution in  France,  established  by  the  Direc- 
tory in  1795.  It  consists  of  5  Departments: 
I,  Academie  Fransaise.  2,  Inscriptions  ei 
Belles-Lettres.  3,  Sciences.  4,  Beaux  A  rts. 
5,  Sciences  Morales  et  Poliiigues. 

Instrument,  in  general  a  tool.  In  music  an 
apparatus  for  producing  mus'cal  sounds. 
Orchestral  instruments  consist  of  the  strings, 
violin  family  ;  the  7t//«rtf(wO(?(/),  flutes,  oboes, 
clarinettes,  and  bassoons,  and  U'rass),  horns, 
trumpets,  trombones,  ophicleid,  tuba,  etc., 
percussion,  drums,  triangle,  cymball,  tam- 
bourine, etc.  All  wind  instruments  are  re- 
garded as  descended  from  the  pipe,  and  all 
stringed  instruments  from  the  lyre. 

Instrumentation,  the  art  of  writing  for 
orchestra.  Berlioz  has  a  book  on  the  subject. 
See  also  the  2nd  Vol.  of  J.  C.  Lobe's  Komfio- 
sitionslelire.  Also  a  primer  of  the  Novcllo 
series. 

Intendente  (Ital.  een-ten-dan'-tS).  Director, 
conductor. 

In  Tempo  dtal.  tSm-po),  in  time,  i.e.  resum  - 
ing  the  ])roper  movement  after  a  ritard. 

Interlude,  a  short  passage  played  between  the 
stanzas  of  a  song  or  hymn.  Also  a  light  play 
introduced  between  the  acts  of  a  drama. 


a  aUy  a,  add,  a  arviy  e  eve,  6  end,  i  ice,  1  ill,  o  old,  o  odd,  d  dove,  00  moon,  n  lute,  u  iut,  u  Fr.  sound 


INT 


DICTIONARY. 


JAC 


Kuterniezzo  (Ital.  een-ter-mat-s6).  An  in- 
terlude, or  intermediate  piece  between  two 
others.  An  interlude,  a  name  frequently  em- 
ployed by  Schumann  to  designate  short  and 
not  very  important  pieces.  An  /.  was  origi- 
nally of  a  light  and  pleasing  character. 

Interval,  difference  of  pitch  between  tones. 
Intervals  are  named  from  the  number  of  de- 
grees of  the  scale  they  include.  A  second  is 
the  interval  between  any  tone  of  the  scale 
and  the  next  abDve  or  below.  A  third  takes 
to  the  next  tone  but  one,  etc.  The  represen- 
tation of  an  interval  is  determined  by  its  na- 
ture. A  second  is  represented  by  two  notes 
on  adjacent  degrees  of  the  staff;  a  third  by 
two  notes  on  successive  lines,  or  successive 
spaces,  etc.  Intervals  which  sound  alike,  as 
the  minor  third  and  augmented  second,  are 
iiitroduced  and  resolved  differently.  Like 
different  words  of  the  same  sound,  they  can 
not  be  determined  when  standing  alone,  as 
ail  and  ale:  plain  z.i\<i plane:  so  and  j<?7c.- 
can  to  be  able,  and  cati  a  receptacle.  'I'he 
manner  of  their  use  explains  their  meaning, 
and  the  true  spelling  thereupon  follows.  The 
principal  intervals  in  perfect  intonation  are 
represented  by  mathematical  ratios,  those  of 
the  tempered  scale  are  not  easy  to  determine, 
and  almost  impossible  to  produce  on  different 
instruments  twice  alike,  owing  to  the  diffi- 
culty of  tuning.  (See  "  Temper.iment,''  and 
I'  Scale  ratios.")  The  ratios  of  the  principal 
intervals,  beginning  with  the  most  consonant. 
^xeoctaveiw  \  pery7/V//  3:2;  \>f:x  fourth  4  :  3, 
maj.  third  5:4;  niin.  third  6:5:  m.ij. 
seconds  :  7,  9  :  8,  and  10  :  g,  according  to  its 
place  in  the  scale  ;  min.  second  14  :  13,  15  :  14, 
16:15. 

Intervals,  Perfect.  The  unison,  octave,  4th 
and  5th  which  occur  between  the  tonic 
and  the  4th,  5th,  and  8th  of  the  major  scale. 
These  are  called  perfect  because  they  have 
perfect  "complements,''  and  because  'they 
are  the  only  consonant  intervals  of  those  de- 
nominations. 

Intervals,  Major.  Seconds,  3ds,  6ths,  yths, 
and  gths,  between  the  tonic  of  the  major 
scale  .Tnd  tlie  corresponding  diatonic  tones. 

intervals.  Minor.  Seconds,  3ds,  6ths,  7ths, 
and  Qths,  a  chromatic  semi-tone  smaller  than 
the  major  intervals  of  the  same  name. 

Intervals,  Augmented.  A  chromatic  semi- 
tone larger  than  major  or  perfect  intervals. 

Intervals,  Diminished.  A  chromatic  semi- 
tone smaller  than  perfect  or  minor  intervals. 

Interrupted  Cadenee,  called  also  evaded 

cadence,  a  cadence  that  is  interrupted  by  the 
unexpected  entrance  of  some  other  chord 
(usually  the  sixth  degree)  where  the  tonic 
was  expected. 

IntOliare  (Ital.  een-to-na'-re).  To  pitch  the 
voice  ;  to  sound  the  key  note  ;  to  intone. 

Intrada  (Ital.  een-trii -da).     An   introduction. 

Intrepidu  (.Ital.  een-trix'-pe-dO).  Intrepid, 
bold. 

Introduction,  a  short  preparatory  move- 
ment. 

Intonation,  the  pitch.  Also  the  introductory 
notes  of  the  Plain  Song  where  the  precentor 
is  hunting  for  the  key. 

Introit  (in-tro -It,  or  F'r.  ahn-trwa).  Entrance, 
a  hymn  or  anthem  sung  while  the  priest 
enters   within   the   rails   at   the    communion 


table,  or  at  the  opening  of  the  service.  An- 
ciently sung  while  the  faithful  were  entering 
the  church. 

Invention,  a  name  given  by  J.  S.  Each  to 
certain  small  piano-forte  pieces  in  two  and 
three  parts. 

Inversion,  a  turning  upside  down.  In  har- 
mony the  change  from  an  interval  to  its  com- 
plement. Also  the  substitution  of  the  3rd,  Sth. 
or  7th  of  a  chord  as  bass,  instead  of  the  root, 
the  natural  bass.  In  counterpoint  the  inter- 
change of  voices,  the  higher  becoming  the 
lower,  and  vice  versa,  at  some  pre-contrived 
interval,  which  may  be  the  octave,  ninth, 
tenth,  or  twelfth.  In  melody  the  repetition 
of  a  motive  or  jihrase,  with  its  ups  and  downs 
reversed.  In  the  inversion  of  a  chord,  the 
"  combination  tone"  remains  unchanged, 
hence  the  identity  of  the  chord  is  unaffected 
by  it. 

Ionic  Key         (    One  of  the  church  keys,  hav- 

lonian  iVlode  f  ing  the  tones  C  D  E  F  G 
ABC,  being  in  fact  our  major  scale. 

Iperniestra,  an  opera  libretto,  by  Metastasio, 
which  has  had  18  composers.  A,inong 
them  Sarti,  Jommelli,  Hasse  and  Gluck. 

Iphi^enie    en    Aiilide,    "  Iphigenia    in 

Aulis,''  tragic  opera  in  3  acts,  by  Gluck.  1774. 

Iphigenie  en  Tauride,  "Iphigenia  in 
Tauris,"  tragic  opera  in  4  acts,  by  Gluck. 
1779- 

Irene  (i-reen).  An  English  version  of  Gou- 
nod's ^^Reine  de  Saba."     1865. 

IrlandaiS  i^Fr.  eer-Iahn-da').  Anairordance 
tune  in  the  Irish  style. 

Irish  Music. is  noted  chiefly  for  its  sweet  and 
pathetic  melody,  and  lor  its  wild  and  devil- 
may-care  dance  tunes. 

Irresoluto  (Ital.  ee-ra-zo-loo-to).  Irreso- 
lute, wavering. 

Isochronous,  in  equal  time. 

Isotonic  System,  a  system  of  tuning  in  ab- 
solutely equal  temperament. 

Istesso  (Ital.  ees-ta-so).     The  same. 

Isouard,  Nicolo,  a  prolific  French  composer  of 
operas,  distinguished  by  melody  and  freedom 
from  vulgarity.     1775-1S18. 

Israel  ill  Egypt,  the  5th  of  Handel's  ora- 
tories. 1738.  This  work  contains  a  greater 
number  of  bare-faced  plagiarisms  from  other 
composers  than  was  perhaps  ever  offered  in  a 
great  work  by  a  man  of  genius.  It  is  distin- 
guished, nevertheless,  for  grandeur  and  mo- 
notony. 

Italian  llusic  was  formerly  noted  for  it. 
scientific  cleverness,  and  always  for  its  melody 
and  pleasing  quality.  See  Lessons  .\xxix  and 
xli. 

Italiana  in  Algieri,  L',  "  The  Italian  in 
Algiers."     Comic  opera  by  Rossini.     1813. 

Italian  Sixth,  a  name  sometimes  given  the 
chord  of  the  augmented  sixth  and  maj.  third, 
asD^  F  B. 

Ite.  .nissa  Est,  "Go!  Mass  is  finished." 
The  dismissal  anthem  in  the  Mass. 

Jack,  an  upright  piece  of  wood  standing  on  a 
key  of  the  harpsichord,  bearing  on  its  upper 
end  a  transverse  piece  of  crow-quill  to  twang 
the  string  in  passing,  when  the  key  i-^  pressed 
by  the  finger.  In  the  piano  the  Jack  is  the 
upright  lever  of  the  action,  communicating  the 
motion  from  the  key  to  the  hammer. 


aa/(7,  a  addy  a  cnn,  e  eve^  e  end,  i  ice,  I  ///,  6  old,  6  odd,  o  dove,  00  moon,  u  lute,  u  but,  U  Fr.  sound 


34 


JAC 


DICTIONARY. 


JOM 


Jackson.  William,  an  English  violinist,  organ- 
ist and  composer.  Born  at  Exeler  1730.  Died 
1803.  Author  of  several  operas  and  dramati- 
cal works,  and  writings  about  music. 

Jackson,  William,  an  organist  and  chorus 
master,  whose  earliest  business  was  that 
of  a  tallow-chandler,  and  who  educated 
himself,  wa-^  born  at  Masham  )8i6.  Was  the 
author  of  an  or.itorio  "The  deliverance  of 
Israel  from  Babylon,"  1845,  ""^d  several  can- 
tatas.    Died  1866. 

Jackson,  Samuel,  an  organist,  composer  and 
arranger  of  music,  and  teacher,  in  New  York. 

•FaclaSSOlin,  Saloman,  a  m.any-sided  composer 
of  the  present  time,  was  born  at  Bru-slau  in 
1831,  and  studied  with  Hesse,  LUstner, 
Brosig,  and  at  Leipsic.  In  1852  became  resi- 
dent in  Leipsic  and  conductor  of  the 
"Euterpe"  society.  J.  is  a  teacher  of  har- 
mony,  composition  and  piano  in  the  Conserva- 
torium,  and  a  fruitful  composer  of  piano 
pieces, songs,  symphonies,  etc. 

Ja<lin,  Louis  Emmanuel,  a  French  composer, 
of  Belgian  origin,  conductor  and  teacher,  who 
wrote  very  many  patriotic  songs,  much  cham- 
ber music,  and  several  operas.  Born  1768  at 
Versailles.     Died  in  Paris  1853. 

JaellllS,  Friedrich  Wilhelm,  (written  Jahns, 
yiins),  royal  music  director  at  Berlin,  was 
born  1809.  He  has  composed  and  arranged 
much  for  the  piano,  and  is  author  of  an  ex- 
haustive thematic  catalogue  of  the  works  of 
Carl  Maria  von  Weber. 

Jacll,  Alfred  (yal),  a  distinguished  piano-forte 
virtuoso,  was  born  at  Trieste,  Ma..  5,  1332, 
studied  the  violin  and  piano  at  an  early  age, 
and  made  his  first  public  appearances  as 
pianist  at  the  age  of  11.  From  this  time  for- 
ward his  success  as  a  virtuoso  was  very  great. 
In  1843  he  settled  in  Paris,  but  left  at  the  time 
of  the  revolution  in  1847,  and  soon  afterwards 
came  to  America.  In  1S51  and  1852  he  played 
with  great  success  in  Boston  and  New  York. 
Since  1854  he  has  divided  his  time  between 
England  and  the  Continent.  Jaell  is  an  ele- 
gant pianist,  with  great  fluency  and  neatness 
of  technic,  but  not  much  depth.  He  married 
a  pianist,  Miss  Trautmann,  in  1866. 

Jall'e,  Moritz  (yaf-fa  ),  A  good  violinist  and 
composer,  living  at  Berlin.  Born  1835.  Au- 
thor of  two  operas,  a  string  quartette,  etc., 
and  a  superior  leader  of  a  quartette. 

Jalin,  Otto  (yan),  the  biographer  of  Mozart, 
and  a  distinguished  philologist,  archaeologist 
and  writer  on  art  and  music.  Born  June  16, 
1813,  at  Kiel.  Studied  there  and  at  Berlin 
and  Leipsic  ;  took  his  degree  in  1831.  Lived 
at  Bonn  1855  to  1869.  Died  that  year  at  Gcitl- 
ingen.  His  great  work  of  musical  interest  is 
his  "  W.  A.  Mozart,"  1856-59. 

Jail  rbueclicr  fur  llusikalisclie  ^Vis- 
scnscliaft,  "  Yearbooks  of  Musical  Sci- 
ence." Published  in  1S63  and  1867,  containing 
many  valuable  papers.  (Breitkopf  &  Hiirtel, 
Leipsic.) 

Jalco  de  Xeres  (Spa.  hii-la-o  da  ha-res). 
A  Spanish  national  dance,  of  a  quick,  light 
character.     Frequently  introduced  in  operas. 

Jannota,    (yiin-nfit-ta),    the    leading 

Italian  teacher  of  singing  in  Cincinnati. 

tf  can  de  Paris,  "  John  of  Paris,"  comic 
opera  in  2  acts  by  Boieldieu.     1812. 


JjMiny  Rel],  comic  opera  in  3  acts  by  Auber, 
1855.     The  scene  is  laid  in  England. 

•Jen.seil,  Adolph  (yen  -st-n),  one  of  the  most 
imaginative  and  pleasing  composers  of  the 
present  time.  Born  Jan.  12,  1837,  at  Kijnigs- 
berg.  Was  a  pupil  of  Ehlert  and  Marpurg. 
He  has  published  very  many  works,  songs, 
piano  pieces,  etc.,  in  a  style  somewhat  re- 
sembling bchumann,  but  more  pleasing  and 
not  so  deep.  His  studies  for  piano,  op.  32, 
are  worthy  of  particular  mention  as  affording 
an  agreeable  introduction  to  Schumann.  Died 
at  Baden-Baden,  1879. 

Jcptliall.  Handel's  last  oratorio.  His  blind- 
ness came  on  during  its  composition.  1751. 
This  subject  was  also  set  by  Bartholemon  at 
Florence  in  1776,  and  Reinthaler  about  1855. 

Jerusalem,  grand  opera  in  4  acts  by  Verdi, 
being  a  French  adaptation  of  "  I  Lombardi.'' 
Also  an  oratorio  in  3  parts  by  H.  H.  Pierson, 
1852. 

Jessoilda,  a  grand  German  opera  in  3  acts  by 
Spohr.     1823. 

Jeuue  lleiiri,  Le,  opera-comique  in  2  acts 
by  Mehul.     1797. 

Jeu  (Fr.  zhiih),  play.  The  style  of  playing  an 
instrument.     Also  a  register  in  an  organ. 

Jeux  (Fr.  zhuh,  plural  of  the  preceding).  Stops. 

Jeux  d'  Anches  (Fr.  zhuh  d'ansh).  Reed 
stops. 

Jeu  4«rande  (Fr.  zhuh  gran'-de).  The  full 
organ. 

Joat-llini,  Joseph  (yo-akh'-eem),  the  greatest 
of  living  violin  pl.'vyers,  was  born  at  Kitt'^ee, 
June  28,  1831.  He  began  to  play  the  violin 
at  5  years  of  age.  In  1S43,  a  boy  of  12,  al- 
ready an  accomplished  player,  he  went  to 
Leipsic,  where  his  remarkable  talent  was 
recosnized  by  all,  and  he  remained  with 
David,  and  at  the  same  time  made  thorough 
studies  in  literature  and  musical  composition, 
until  1850,  when  his  career  as  virtuoso  began, 
and  has  continued  ever  since  with  the  great- 
est distinction  and  honor.  In  1S6S  he  became 
headof  the  "  High  School  for  Musical  Execu- 
tion "  in  Berlin,  where  he  has  since  resided 
and  labored,  with  themo^t  beneficent  results 
Joachim  is  noted  for  the  breadth,  erace,  ten- 
derness and  deep  feeling  of  his  playing,  as 
well  as  for  his  unapproachable  technique,  in 
which  respect  he  is  not  surpassed  by  any. 
He  is  also  a  composer  of  exceptional  ability. 
His  greatest  work  is  his  "'Hungarian  Con- 
certo," op.  11. 

Joan  of  Arc,  opeia  in  3  acts,  by  Balfe,  1837. 

Joconde,  ou  Les  Coureursd'Aventure,  comic 
opera  in  3  acts,  by  Isouard,  1814. 

John  the  Baptist,  an  oratorio  in  two  parts, 
liy  Di.  G.  A.  Macfarren.  Produced  at  the 
liristol  Festival  in  1873. 

Jodein  (Ger.  yo'-d'ln\  A  style  of  singing 
peculiar  to  the  Tyrolese  peasants,  the  natural 
voice  and  the  falsetto  being  used  alternately. 

Jole  (Fr.  zhwa).     Joy,  gladness. 

Jonin\eIll,  Niccolb,  (ySm-mel'-lee).  A  dis- 
tinguished Neapolitan  opera  composer.  Born 
at  Aversa  1714,  and  thoroughly  educated  in 
music,  at  first  at  home,  and  afterwards  in 
Naples.  Jommelli  made  his  first  appearance 
as  an  opera  composer  in  1737,  with  great 
success.  The  following  twenty  years  were 
passed  at  Venice,  Vienna,  Rome,  and  again 
at  Naples,  where  for  the  most  of  the  time  his 
operas  had  distinguished  success.    Died  1774. 


a  a/V,  &■  add,  a  arniy  S  eve,  e  end,  I  ice,  I  ill,  5  old,  o  odd,  o  dove,  00  moon,  Q  lute,  u  but,  ii  Fr.  sound 

35 


JON 


DICTIONARY. 


KEI 


Jones,  Sir  \Vm.,  the  learned  orientalist,  was  au- 
thor of  a  treatise  on  "  The  Musical  Modes  of 
the  Hindus,"  1784.  Born  1746  at  London. 
Died  at  Calcutta  1794. 

Jongleurs  (Fr.  zhonh-glur).  An  old  term 
for  the  itinerant  musicians  of  the  10th  and 
following  centuries. 

Joseph  and  his  Brethren,  the  8th  of  Handel's 
oratorios,  1743. 

Joseph,  opera  comic  in  3  acts,  by  Mehul.  1807. 
2.  Oiatorio  in  two  parts  by  Dr.  G.  A.  Mac- 
farren.     Produced  at  the  Leeds  Festival,  1S77. 

Joshua,  the  14th  of  Handel's  oratorios,  1747. 

Josqnin,  Despres  (yos-keen'  da-pra).  One 
of  the  greatest  masters  of  the  Netherlands 
school,  and  the  immediate  predecessor  in 
musical  history  of  Lassus  and  Palestrina,  was 
born  about  the  middle  of  the  15th  century, 
near  St.  Quentin.  He  was  a  prolific  com- 
poser, and  left  19  masses,  about  50  secular 
pieces,  150  motets  with  sacred  words,  etc. 
His  works  sound  somewhat  meagre  now,  but 
he  had  genuine  melody. 

Jota  (Spa.  h5-ta).  A  Spanish  national  dance 
in  waltz  time.  Specimens  may  be  seen  in 
"  Sarasate's  Spanish  Dances." 

Jubel-Floete  (Ger.  yoo-bel  flo-te).  An  organ 
stop  of  the  flute  species. 

Jubilate  I>eO  (Lat.  joo-be-la-te  dee-6). 
"O  be  joyful  in  the  Lord."  The  first  words 
of  the  looth  Psalm ;  is  used  as  a  canti- 
cle in  the  order  of  Morning  Prayer. 

Jubilee  Overture,  The,  a  celebrated  over- 
ture in  E,  op.  59,  composed  by  C.  M.  von 
Weber  for  the  festival  at  Dresden  in  i8i8.  It 
winds  up  with  "  God  save  the  King.'' 

Jubilee,   The  Peace.    Two_ monster  festi- 

v.als  by  this  name  were  held  in  Boston  1869 
and  1871,  under  the  inspiration  and  general 
direction  of  Mr.  P.  S.  Gilmore.  At  the  last 
there  was  an  orchestra  of  goo,  a  large  organ, 
a  chorus  of  14,000,  and  the  audience  room 
held  about  40,000. 

Judas  Maccabeus,  the  12th  of  Handel's 
Oratorios.  Begun  July  g,  ended  Aug.  11, 
1746. 

Judith,  I.  An  oratorio  by  Defesch,  173-!.  2. 
An  oratorio  by  Dr,  Arne,  1764.  3.  A  "  Bibli- 
cal Cantata,"  by  H.  Leslie,  1858. 

Juive,  La  (zhu-eev').  "The  Jewess,"  opera 
in  5  acts,  by  Hal^vy,  1835. 

Jullien,  Louis  Antoine,  the  famous  band- 
master, and  the  first  to  bring  a  large  orchestra 
to  America,  was  born  at  Sisterton,  April  23, 
1812.  In  1838  he  began  his  career  as  a  con- 
ductor in  London,  with  an  orchestra  of  go  and 
a  chorus  of  80.  From  time  to  time  he  en- 
larged his  resources,  employed  the  greatest 
solo  artists,  started  a  store,  leased  a  theater, 
and  so  made  much  money  and  rode  on  the 
highest  wave  of  popularity,  only  to  be  ovei  - 
taken  finally  by  financial  misfortunes.  He 
came  to  America  in  1853,  and  remained  here 
until  1S54,  On  his  return  to  England  he 
again  lost  heavily,  removed  to  Paris,  and 
finally  died  in  a  lunatic  asylum  near  Paris  in 
i860.  To  this  enterprising,  if  somewhat  ch.Tr- 
latanish,  conductor,  the  English  and  Ameri- 
can public  owe  important  education  in  the 
taste  for  classical  music  and  finished  style  of 
performance. 


JungSte  Oerleht,  Das,  Spohr's  f.rst  ora- 
torio. i8i5>.  Not  the  same  as  his  "The 
Last  Judgment." 

Jupiter  Symphony,  The.  Mozart's  49th 
and  last  symphony,  in  C  I  Kochel  551)  1788. 
The  name  was  applied,  perhaps,  by  J.  B. 
Cramer. 

Just,  a  term  apnlied  to  all  consonant  intervals, 
and  to  the  strings  and  pipes  that  give  them 
with  exactness. 

JuStO  (Ital.  yoos-to).     Exactness,  precision. 

Jnngltiann,  Albert  (yoong'-man).  A  good 
pianist,  and  an  elegant  composer  of  piano 
pieces.  Born  1824  at  Langensalza.  Lives  in 
Vienna. 

Kafka,  Johann  Nepomuk,  pianist  and  salon 
composer,  was  born  May  17,  1819,  in  Bohemia. 
Studied  in  Vienna,  and  since  1840  has  pro- 
duced a  constant  succession  of  pleasing  com- 
positions for  the  piano. 

KalUbrenner,  Friedrich  W.  M.,  was  in  his 

day  a  great  virtuoso  pianist  and  a  prolific 
compost.-r.  He  was  born  near  Berlin  in  1788. 
Studied  in  Paris  at  the  Conservatoire,  where 
he  carried  off  the  honors  for  his  piano  play- 
ing. He  at  first  settled  in  London,  where  he 
had  fine  success  as  a  teacher  and  player,  but 
in  1824  he  returned  to  Paris,  where  he  was  re 
ceived  as  a  partner  in  the  house  of  Pleyel  & 
Co.,  piano-makers,  and  eventually  amassed 
a  fortune.  His  compositions  for  a  time  were 
held  in  the  highest  repute,  and  were  so  when 
Chopin  went  to  Paris  in  1831,  but  they  are 
nov/  forgotten.  K.  was  an  elegant  pianist, 
but  without  a  large  tone  or  much  depth  of 
expression.    D.  1849. 

Kalliivoda,  Johann  Wenzelslaus,  a  violin 
player  and  popular  composer,  was  born  at 
Prague  in  1800.  He  died  at  Carlsruhe  in 
1866.  Was  the  author  of  7  symphonies,  be- 
sides a  large  number  of  concertos,  quartettes, 
etc.,  which  were  melodious  and  well  written, 
but  not  of  permanent  value. 

Kaninter  (Ger.  kam-mer\  chamber.  Kain- 
iner  MusikyCha.To.hsT  music. 

Kaiine,  Fr.  A.,  a  talented  German  composer 
;ind  poet,  born  1778  in  Saxony,  who  left  a 
number  of  operas  and  dramas.  Died  in  Vien- 
na, 1S33. 

HLapelle  (Ger.  kap-pel-le),  chapel.  A  musical 
establishment,  usually  orchestral.  Formerly 
applied  to  the  private  band  of  a  prince  or 
magnate,  but  now  .applied  to  any  orchestra. 
Thus,  at  Berlin,  the  Kaiserliche  Konigliche 
Kapelle  (97  musicians  called  Kammermusiker) 
forms  the  regular  orhcestra  of  the  Grand 
Opera,  with  two  Kapellmeisters  (conduc- 
tors), a  Concertmeister  (leader,  or  ist  violin), 
and  a  Balletdirigent  (^ballet-master).  IGrove.] 

Kapellmeister  (Ger.  kap-pel-mis-ter). 
Conductor  of  an  orchestra.     See  above. 

Keiser,  Reinhard  (rln-hiird  klz-erl,  an  emi- 
nent German  opera  composer  of  the  olden 
time,  born  1673.  For  40  years  from  1694  he 
remained  at  Hamburg,  a  favorite  composer. 
In  one  year  he  wrote  8  operas.  He  composed 
his  last  opera,  "  Circe,"  in  1734,  and  died  in 
1739- 


a<i/^,  a  add,  a  arm,  e  eve,  3  cud,  i  ice,  1  ///,  o  aid,  o  (>dd,  6  dove,  00  moon,  u  lute^  u  but,  u  Fr.  sound 

36 


KEL 


DICTIONARY. 


KOC 


Ke3er-Bela  Cwhose  real  name  is  Albert  von 
Keler)  was  born  in  Hungary  in  1820.  In 
1845  he  begun  study  in  Vienna,  and  in  1854 
took  command  of  Gungl's  orchestra  in  Berlin. 
Presently  he  returned  to  Berlin  and  suc- 
ceeded to  the  Leadership  of  Lanner's  orches- 
tra. Has  composed  many  overtures,  waltzes, 
marches,  etc.,  characterized  by  brilliant  style, 
and  showy  instrumentation. 

KellOKg,  Clara  Louise,  the  favorite  American 
soprano,  was  born  in  Sumterville,  N.  C,  in 
1842.  She  made  her  debut  as  Gilda  in  Rigo- 
lette  in  186 1,  since  which  she  has  been  con- 
stantly before  the  public.  She  is  a  conscien- 
tious artist,  has  a  voice  of  great  compass  and 
purity,  and  is  highly  esteemed  in  England 
and  this  country. 

Kelly.  Michael,  an  Irish  composer  of  theatrical 
music.    1764-1S26. 

Kent  Bugle,  an  improved  form  of  the  key 
bugle.  It  had  a  complete  chromatic  scale 
from  Bi  below  the  treble  staff  to  C  above. 
Superseded  by  sa.v-hornsand  cornets. 

Keolailtlie,  Or  the  Unearthly  Bride,  opera 
in  2  acts  by  Balfe,  1841. 

Keraulophon  (ker-nw'-lo-phon),  an  organ 
stop  of  string  tone  and  8  ft.  pitch. 

Kettle  Drums  are  copper  or  brass  basins 
with  a  head  of  skin  that  can  be  tuned  to  a 
true  musical  note.  Used  by  cavalry  and  in 
orchestras,  always  in  pairs  (^ tonic  and  domi- 
nant). 

Key,  a  mechanical  contrivance  through  which 
the  finger  produces  or  modifies  a  sound  in 
instruments. 

Key,  a  relationship  of  tones.  All  authentic 
modern  music  rests  upon  the  normal  key,  or 
tonal  system  from  which  all  our  harmony  is 
drawn.  Taking  any  tone  as  tonic  the  remain- 
ing seven  tones  of  the  octave  stand  in  the 
following  relations  to  it:  g-8,  5-4,  4-3,  3-2, 
5-3,  15-8,  2-1.  These  are  the  ratios  of  the 
major  scale.  The  same  tones  may  be  used  in 
the  minor  mode  without  alteration,  but  gene- 
rally ihe/ifi/i  of  the  major  is  sharped  so  as  to 
make  a  major  seventh  in  the  minor.  Thus 
the  tones  C  D  E  F  G  A  B  C  make  the  key 
of  C.  If  G  sharp  be  taken  instead  of  G,  the 
key  becomes  A  minoi.  The  subject  of  tona- 
lity has  been  thoroughly  investigated  by 
Helmholtz,  to  whose  "  Tone  Sensations"  re- 
ference is  made. 

Key  Xote,  the  tone  of  a  key  from  which  all 
tlie  others  are  determined.  That  tone  of  a 
scale  which  makes  the  best  point  of  closing. 

Kiel,  Friedrich  (keel),  a  German  violinist,  and 
distinguished  master  of  counterpoint  and 
fugue  in  the  Berlin  Hochschule  for  music.  Is 
composer  of  a  Requiem,  a  Missa  Solemnis, 
and  in  1874  an  oratorio,  Christus.  Born  1821 
at  Puderbach. 

Kiuii^.  Matthew  Peter,  an  English  composer  of 
operas.      1773-1823. 

Kin«;  Charles  tlie  Seoon*!,  opera  in 
2  acts,  by  G.  A.  Macfarren,  1849. 

Kirelie  (keerk  -he),  church. 

Kirclie-<"'antaten,  church  cantatas,  of 
which  Bach  left  a  large  number. 

Kireliner,  Theodor  (keerk  -ner),  one  of  the 
most  talented  of  the  disciples  of  Schumann,  a 
composer  of  ^(?«?v  pieces  for  the  piano-forte. 
Born  1824  at  Newkirchen.     Lives  at  Leipsic. 


KirnberKer.  Johann  Phillip  (keern-bar-ger). 
Composer  and  theorist  (most  of  the  l.itter 
being  false),  was  born  1731.  Lived  at  Berlin 
as  Kapellmeister  to  the  Princess  Amelia. 
Died  1783. 

Kit,  a  small  violin. 

Kittel,  Johann  Christian,  a  distinguished  or- 
gan virtuoso  and  composer,  one  of  the  last 
pupils  of  J.  S.  Bach.  Born  at  Erfurt  1732. 
pied  1S09.  Hispublished  works  are  not  very 
important.  His  best  pupil  was  Ch.  Rink,  of 
Darmstadt. 

Klavier,  see  Clavier. 

K.laiig(Ger.  kUng).     Sound. 

Klang-farbe  (Ger.  klang-fiir-be).  Tone- 
color. 

Klinsemann,  Carl  (kllng'-gC-mrinl,  a  Ger- 
man literary  man  and  poet,  author  of  m.iny 
of  the  songs  which  Mendelssohn  set  to  music. 
Bom  at  Limmer  1798.  Died  in  London,  1862, 
as  Secretary  of  Legation. 

Klein  (Ger.  kiln).     Little,  small. 

Klindworth,  Carl,  one  of  the  best  living 
musicians  and  pianists,  most  distinguished  as 
editor  of  the  famous  "Jurgenson"  edition 
of  Chopin.  Born  at  Hanover  1830.  In  1850 
he  went  to  Weimar  to  study  with  Liszt,  where 
he  was  the  associate  of  Raff,  Biilow,  Priick- 
ner,  \Vm.  Mason,  etc.,  being  especially  inti- 
mate with  the  latter.  F"rom  1854  he  lived  14 
years  in  London.  Since  1868  he  has  been 
professor  of  piano-forte  in  the  Conservatory 
at  Moscow.  K.  has  distinguished  himself, 
also,  by  his  arrangement  of  the  piano  score  of 
Wagner's  "  Der  Ring  des  Nibelungen." 

KlOSS.  Karl  Johani  Chr.,  a  noted  organ 
virtuoso,  born  1792  at  Mohningen,  and  served 
as  organist  and  director  in  various  places. 
Died  1853  at  Riga.  Left  many  songs,  big  and 
little  piano  pieces,  organ  pieces,  etc. 

Klugliardt,  August,  a  talented  German  com- 
poser and  director.  Born  in  1847  at  Kothen, 
educated  at  Dresden,  and  in  1873  became 
Hof kapellmeister  in  Naustrelitz.  Is  com- 
poser of  songs,  piano  pieces,  overtures,  etc., 
which  show  decided  originality. 

Kneellt,  Justin  Heinrich  (knekt),  a  noted  or- 
gan, piano,  and  violin  player,  theorist,  and 
composer  of  psalms,  motets,  cantatas,  sonatas, 
etc.,  etc.,  and  instruction  books.  Born  1752, 
died  1817. 

Kuee  stop,  an  organ  stop  worked  by  the  knee. 

Knell,  a  stroke  of  the  bell,  made  at  intervals, 

during  funerals. 

Knight,  Joseph  Phillip,  an  English  writer  of 
over  200  songs,  best  known  of  which  is  his 
"  Rocked  in  the  Cradle  of  the  Deep."  He  is 
a  good  organist.  Born  at  Stratford-on-Avon, 
1812.     Was  at  ope  time  a  clergyman. 

Knorr,  Julius,  a  German  pianist,  teacher,  and 
writer  about  music,  was  born  1807  at  Leipsic, 
and  appeared  in  the  Gewandhaus  concerts 
with  success,  in  the  first  Chopin  piece  ever 
played  there.  He  was  concerned  with  Srhu- 
niann  and  Schunke  in  establishing  the  "  New 
Journal  of  Music."     Died  June  1861. 

Koeh,  Henrich  Christoph  (kok),  was  a  labori- 
ous theorist  and  musical  lexicographer.  Born 
at  Rudolstadt,  1749.     Died  i8i5. 


a  a/e,  a  udd,  a  arrn^  e  ez'e,  e  end,  i  ice,  1  zV/,  o  o^d,  6  odd,  o  dove,  00  moon,  u  lute,  u  but,  u  Fr.  sound 

37 


KOC 


DICTIONARY. 


KUL 


Kuecliel,  Dr.  Ludwig  Ritter  von  (ku'kel).  A 
learned  musician  and  naturalist,  the  author 
of  a  thematic  catalogue  of  all  of  Mozart's 
works.  (Breitkojjf  and  Hartel,  Leipsic  1862.) 
Born  1800  at  Stein.     Died  at  Berlin  1877. 

Koeltler,  Louis,  a  many-sided  German  musi- 
cian, especially  a  pianist,  musical  writer  and 
teacher,  is  known  in  all  countries  by  his 
Etudes  for  piano.  Born  at  Brunswick  1820, 
was  educated  under  Sechter,  Seyfried  and 
Bocklet.  Since  1846  he  has  lived  at  Konigs. 
berg,  Prussia,  as  musical  director,  etc. 

Koerner,  Gothilf  Wilhelm  (kiir'-ner).  A  pro- 
lific German  writer  of  musical  te.xt-books, 
particularly  for  the  organ.  Born  1809.  Died 
at  Erfurt  1865. 

Itolbe,  Oscar  (kol'-be).  A  theorist  and  com- 
poser.    Born  in  Berlin  1836. 

Kollniann,  A.,  a  musician,  born  at  Hanover 
in  1756,  settled  in  England  as  organist  at  the 
German  chapel  in  London.  Was  author  of 
many  text  books  in  music.     D.  1824. 

Koiitslii,  Antoine,  a  fine  pianist  and  composer 
of  many  pleasing  salon  pieces.  Born  at  Cra- 
cow, 1817.     Lives  in  London. 

Kotzwara,  Franz,  born  at  Prague,  hanged 
liimself  in  Ireland  1791,  whether  in  remorse 
at  having  written  his  celebrated  inorceau^ 
"  The  Battle  of  Prague,"  is  not  known. 

Krakovialc  (kra-k6'-vi-ak),  called  also  Cra- 
coznennL\  a  Polish  dance  belonging  to  the 
neighborhood  of  Cracow.  Is  in  2-4  time,  in 
8  measure  periods. 

Krause,  Anton  (krow'-se),  a  good  pianist  and 
capable  director,  born  1834  at  Geithain  in 
Saxony.  Was  educated  at  Leipsic,  and  in 
1859  tindertook  the  direction  of  the  concerts, 
etc.,  in  Barmen,  as  successor  of  Reinecke. 
Krause  is  author  of  10  sonatas,  60  studies, 
etc.,  for  the  piano-forte,  which  are  highly  es- 
teemed. 

K.rel>iS,  J.  L.  K.,  a  distinguished  German  or- 
ganist and  composer  for  organ,  educated  un- 
der Bach  at  Leipsic,  and  in  1737  organist  at 
Zwickau.  Born  1713.  Died  at  Altenberg,  1780. 

KrebS,  Marie,  the  celebrated  piano  virtuoso, 
was  born  of  a  musical  family  in  Dresden,  1851. 
In  her  5th  year  she  played  B.  F.  Burgmiiller's 
25  studies,  op.  100,  with  pleasure  and  the  most 
satisfactory  completeness.  She  pursued  her 
studies  with  her  father  only.  Her  concert 
career  commenced  in  1862,  since  which  she 
has  played  in  all  parts  of  Europe  and  in  Eng- 
land and  the  United  States,  with  the  greate-t 
success.  Her  playing  is  distinguished  by 
splendid  and  complete  technic,  and  'genuine 
musical  feeling,  both  in  classical  and  brilliant 
music. 

Kreisleriana  (krls-ler-i-a'-na),  wreaths. 
Schumann's  title  of  hi^  op.  i6,  "eight  fan- 
tasias for  piano."     1838. 

K.l'<yci,  Joseph,  director  of  Prague  Conserva- 
torium  of  ^Iusic.  Born  1822  at  Milostin.  An 
accomplished  musician,  a  superior  organist 
and  skillful  director,  and  a  composer  of 
church  music  (masses,  etc.),  as  well  as  over- 
tures, songs,  etc. 

K.reiin,  Franz,  an  excellent  German  organist, 
composer  and  director.  Born  i8i6at  Dross, 
in  Austria.  Studied  in  Vienna  with  Seyfried. 
In  1844  he  became  organist,  and  in  1S62 
Kapellemeister  in  the  Royal  Cathedral  of  St. 
Michael.  Is  a  composer  of  masses,  vespers, 
a  symphony,  quartettes,  etc. 


Kretselinaer.  Ed,  a  fine  organist  and  one  of 
the  foremost  dramatic  composers  of  the  pres- 
ent time.  Born  1830.  Studied  in  Dresden, 
and  in  1854  becama  organist  there.  Is  Hof- 
organist  and  Director  of  the  boys  of  the 
Royal  Chape!.  His  "  Geisterschlact  "  wa.s 
sung  with  great  success  in  1S65,  and  took  the 
prize.  His  great  5-act  opera,  "  Die  Folkung- 
ers,"  was  successful  in  1874  and  1875. 

Kreutzer,  Konradin  (kroit'-zer),  a  talented 
and  favorite  song  and  opera  composer,  b^rn 
1782^  in  Baden.  Was  well  educated,  and 
studied  medicine.  In  1803  he  became  pupil 
of  Albretchsberger  in  Vienna,  where  he  re- 
mained till  1811,  and,  composed  many  operas. 
In  1S17  he  became  Kapellmeister.  Died  in 
Riga  1840.  K.  was  the  author  of  very  many 
successful  operas,  of  which  perhaps  the  best 
known  is  "  Das  Nachtlager  in  Granada." 

HLreiltzer,  Rudolph,  the  same  to  whom  Bee- 
thoven dedicated  the  famous  "  Kreutzer  Son- 
ata,'' was  a  violinist  and  composer,  who  was 
born  at  Versailles  1766.  He  was  a  fine  musi- 
cian, and  especially  a  fine  violinist,  playing 
with  great  success  throughout  France  and 
Germany.  He  was  professor  of  the  violin 
from  the  foundation  of  the  Conservatoire, 
until  in  1824  a  broken  arm  compelled  him  to 
stop  playing.     Died  1831  at  Geneva. 

Kreutzer  Sonata,  a  famous  piece  for  piano 
and  violin,  Beethoven's  op.  47,  1803. 

Krieser,  Adam  (kreeg'-er),  a  notable  Ger- 
man organist  and  composer,  1634-1666. 

Krueger,  Wilhelm  K.  (kroig-er).  A  noted 
pianist  and  composer  of  parlor  pieces  for  the 
piano,  born  1820  at  Stuttgart.  Was  pupil  of 
Lindpaintner.  Is  professor  of  piano  in  the 
Conservatorium. 

Krilg.  Dietrich  (kroog"),  a  noted  pianist,  and 
author  9i  a  large  instruction  book  for  it,  as 
well  as  many  piano  pieces.  Born  1821  in  Ham- 
burg. 

Kruillhoril  (crooked  horn).  An  8  ft.  reed 
stop  in  the  organ.  Otherwise  called  "  Cre- 
mona," "  clarionet,"  etc.  The  name  is  not 
now  in  use. 

ICuecken.  Friedrich  Wilhelm,  the  melodious 
and  distinguished  song  writer,  was  born  at 
Blackede.  Hanover,  1810.  He  studied  counter- 
point at  Berlin,  and  with  Sechter  in  Vienna, 
and  orchestration  with  Halevy  in  Paris.  K. 
was  a  prolific  composer  of  operas,  sonatas,  etc., 
as  well  as  the  songs  and  duets  on  which  his 
fame  rests.     Lives  in  Schwerin. 

Kuhe,  Wilhelm  (koo-e),  an  elegant  pianist 
and  composer,  was  born  in  1823  at  Prague, 
and  a  pupil  of  Toniaschek,  and  later  of  Jul. 
Schulhoff  at  Cologne.  Resides  (probably)  in 
London.  Best  known  by  his  charming  ca- 
price "  Feu  FoUet.'" 

Kulinail,  Johann  (koo-nou).  A  very  re- 
markable old  musician.  Cantor  of  Leipsic,  and 
the  greatest  figure  in  German  clavier  music 
before  Bach.  He  was  the  inventor  of  the 
sonata  as  a  piece  of  several  movements  not 
dance  tunes.  Born  1667  at  Geysing.  Made 
cantor  at  Leipsic  1684.     Died  1722. 

Kullali,  Adolph,  a  deep  thinker  in  music  and 
a  teacher.  Born  1823.  Died  1862  in  Berlin, 
Author  of  ■'  Das  Musikalischschon,"  1858. 
and  "  Die  Aesthetik  des  Clavieispiels,"  1861. 


a  «/<?,  a  add^  'X  arm^  5  eve^  e  end,  1  ice,  I  ///,  o  old,  6  odd,  0  dozie,  00  moon,  u  lute,  li  but,  u  Fr.  sound 


38 


KUL 


DICTIOXAKY. 


LAL 


J4.unak.  Theodor,  the  celebrated  teacher, 
pianist,  and  composer,  was  born  i8i8  at 
Krotschins.  He  was  a  pupil  of  Czerny,  and 
in  1846  was  made  Hofpianist  to  the  King  of 
Prussia.  In  conjunction  with  Stern  and 
Marx  in  1851  he  founded  a  ConRervatory  of 
Music  at  Berlin.  His  own  school  of  which 
he  is  still  the  head,  the  "  Neue  Akademie 
der  Tonkunst,"  he  founded  in  1S55,  Is  the 
author  of  many  pieces,  a  great  octave  school, 
and  one  of  the  first  piano-teachers  in  Europe. 

KuiBIlltCt*,  Friedrich  August,  a  great  violon- 
cellist and  composer  for  his  instrument.  Born 
1797.    Lived  in  Dresden,  and  died  there  1879. 

K.UmI<ic1,  Jacob,  a  pianist,  composer,  and 
music  dealer  (Kunkel  Bros.)  was  born  Oct. 
22,  1846,  in  Kleiniedesheim.  Studied  with 
his  father  and  brother,  L.  M.  Gottschalk,  and 
afterwards  with  Tausig.  Located  in  St. 
Louis  in  1868,  where  he  still  resides. 

Kllll1i<'l,  Charles,  pianist,  composer  and  music 
dealer,  was  born  at  Sippersfeld,  in  the  Rhine 
Phalz,  July  22,  1840.  Came  to  America  at 
the  age  of  9,  studied  with  his  father  who  was 
a  good  musician,  and  with  'I'halberg  and 
Gottschalk,  removed  to  St.  Louis  in  i868, 
where  he  since  resides. 

Kusist  (Ger.  koonst,  from  konnen^  to  be  able). 
Alt. 

Klinjiit  der  Fugue,  "  The  art  of  Fugue." 
A  remarkable  work  of  Bach's,  one  of  his  very 
latest.  A  series  of  ■2^/iigues  on  the  same  sub- 
ject, .  designed  to  illustrate  the  manifold 
powers  of  Fugue. 

Kurz  (Ger.  koorts).     Short,  detached,  staccato. 

Kuertzen  (Ger.  kiirt  -zen).     To  abridge. 

Ityrie  Eliessoai  (Greek.),  "  O  Lord,  have 
mercy  upon  us  !''  The  opening  anthem  in 
the  mass. 

Li,  left  hand. 

Lift,  a  syllable  applied  to  the  sixth  sound  of  the 
major  scrde.  Also  used  in  France  as  the 
name  of  the  pitch  A. 

I^a  vital,  and  Fr.  la),  the  feminine  form  of  article. 

I<a  bemol  (Fr.  la  bii-mol),  the  note  A  flat. 

Labial,  organ  pipes  with  lips,  called  also  Jlue 
pipes. 

liabitzky,  Josef  (yo'-zef  lii-beetz'-ki),  the 
well-known  dance-composer,  born  1802  at 
Schonfeld.  Began  the  world  as  ist  violin  in 
1820,  and  in  1821  removed  to  Carlsbad,  where 
he  still  resides.  He  formed  his  orchestra  in 
1835.  His  dances  are  full  of  spirit,  but  not  so 
Jjoetical  as  those  of  Strauss. 

LiaMaclie,  Luigi  (lii-blash),  the  great  basso, 
was  born  at  Naples  1794.  He  was  very  musi- 
cal, and  as  a  bjy  a  fine  contralto,  and  as  such 
sang  the  solos  in  Mozart's  Requiem  on  the 
death  of  Haydn  in  1809.  He  had  talent  for 
the  'cello.  At  the  age  of  so  he  had  a  splendid 
bass  voice  of  two  octaves,  V,b  to  E/'.  From 
his  debut  in  1S17  to  his  death  in  Paris  1858, 
Lablache  was  the  foremost  basso  in  Europe, 
and  an  actor  and  artist  of  the  most  sterling 
character.  He  was  immensely  larje,  about 
6  ft.  4  in.,  and  in  his  later  years  weighed 
nearly  400  pounds. 

liac  «le  Fees,  Le,  opera  in  5  acts,  by  Auber, 
1839.     The  overture  only  has  survived. 


liaebmann,  Karl,  a  many-sided  German 
philologist,  who  has  published  a  number  of 
works  on  "  'I'he  Chorus  of  the  Greek  Tra- 
gedy," the  Niebelungenlied,  etc.,  1793-1851. 

Liaehner,  Franz  (lakh-ner).  One  of  the 
greatest  masters  in  mu^ic  at  the  present  day, 
was  born  April  2,  1S04,  and  from  1836  to  1S52 
when  he  retired  on  a  pension,  he  was  hof- 
kapellmcister  at  Munich.  L.  is  a  prolific 
composer  in  the  classical  style,  of  so'igs,  4 
ooeras,  8  symphonies,  cant.atas,  etc.,  and  is 
very  highly  esteemed  in  Germany. 

liaehner,  Ignaz,  brother  of  the  preceding,  was 
born  1807.  Assisted  his  brother  at  Vienna, 
etc.,  .Tiid  in  1861  se'tlcd  at  Frankfort,  where 
he  fills  many  musical  positions.  He  is  also  a 
orolific  composer  of  operas,  sympho.iies, 
piano-forte  works,  etc. 

Liaeriniandu  (Ital.  la-kre-miin-do).    jSIourn- 

fully. 

IiatrriniOKO  (Ttal.  lU-kre-mo-zd).  In  a  mourn- 
ful, pathetic  style. 

L.a  diese  (Fr.  la  di-as').     The  pitch  ;  A  sharp. 

liady  llenriette.  a  ballet  pantomime  in  3 
acts,  music  by  Flotow,  Burgmiiller  and  T)el- 
devez.  1844.  The  libretto  was  aftc-wards 
expanded,  and  Flotow  set  it  as  "  Martha." 

tady  «f  tise  liake.  The.  Cantata  in  2  parts, 
music  by  Prof,  G.  A.  Macfarrcn.     1877. 

ljS«ndler  (Ger.  land'-ler").  A  country  dance 
orairin  a  rustic  and  pleasing  style  in  3-4  lime. 
Popular  in  Austria,  Bavaria,  Br)liemia,  and 
Styria.  It  is  danced  more  slowly  than  the 
waltz. 

JLa  Crrange.  M'me  Anna  (;a  grang),  one  of 
the  most  distinguished  and  lavorile  coloratur 
singers  of  the  pre*;ent  time,  was  born  in  1825, 
at  Paris.  Studied  singing  with  Bordogni. 
Made  her  debut  in  1842,  and  had  great  siic- 
cess  in  all  parts  of  Europe.  She  visited 
America  in  185S,  and  ag.iin  in  1869.  Lives  in 
Paris,  where  she  is  a  prominent  teacher  of 
singing.  M'lle  Litta  is  one  of  the  most  dis- 
tinguished of  her  puoils.  She  has  a  soprano 
voice  of  great  compass,  \-ery  finished  execu- 
tion, a  lovely  trill,  and  sang  with  true  artistic 
conception  and  taste. 

Ljasi'imoso  (Ital.  la-gre-mo'-zo)^  and  Lagri- 
inatido,  weeping,  tearful.  In  a  sad  and 
mournful  style. 

IiajeUJieSSe.  the  family  name  of  tlie  distin- 
guished prim.a  douna,  Mi»s  Marie  Emma 
Albani,  (iil-bii'-nee).  She  was  born  in  1851 
of  French  Canadian  parents,  near  Montre.Al. 
In  1864  the  family  removed  to  Albany, 
whence  she  derived  her  pscudonvm  whcil  she 
went  upon  the  stage.  Her  finishing  studies  • 
were  made  with  Lamperti,  at  Milan,  and  her 
debut  was  in  1870,  when  the  beauty  of  her 
voice,  her  i)lc."<.sing  method,  and  the  intelli- 
gence of  her  singing  speedily  raised  her  to 
the  commanding  pisiiion  she  now  holds. 
She  was  married  to  Mr.  Ernest  Gye  in  1878. 

Ijallali  Slrtokll.  IMoore's  poem.  i.  Opera  by 
C  E.  Horn,  1830.  2.  Opera  by  Felicien 
David,  1862.  3.  Opera  in  2  acts,  by  Rubin- 
stein, 1863.  4.  Paradise  and  the  Pel  i,  Schu- 
mann. 5.  Paradise  and  the  Peri,  con-eert- 
overture,  by  Wm.  Sterndale  Bennett. 


a  aie,  a  add,  a  ar:n,  G  eve,  o  end,  I  ice,  \  ill,  o  old,  u  odd,  o  dove,  00  moon,  u  lute,  il  but,  u  />.  sound 


39 


LAM 


DICTIONARY. 


LAU 


Lambillotte,  Pater  Loiiis  (lara.beel-yot  -te) 
a  celebrated  and  popular  church  composer, 
was  born  1797  at  Charleroi,  and  at  the  age  of 
25  was  kapellmeister  in  the  Jesuit  College  in 
St.  Scheul.  In  1S25  he  joined  the  Order.  L. 
has  produced  a  great  quantity  of  music  for  the 
church,  which  i>  showy,  brilliant,  and  effec- 
tive, but  has  little  sub-tance.  Was  also  au- 
thor of  several  works  about  music.  Died  in 
1855. 

liameilt.  an  old  name  for  harp  tunes  of  the 
pathetic  kind. 

liailieiltabile  (Ital.  lii-mSn-ta -be-le).  La- 
mentable, mournful. 

LailientationS,  the  funeral  music  of  the 
ancient  Jews  v/as  called  by  this  name.  See 
als(_)   Tencbrae, 

LiaineBltevoIe  (Ital.  la-men-tii'-vole).  La- 
nientful,  lamentable, 

I/anieiltOSO  (Ital.  l:i-m6n-to -z6).  Lament- 
able. 

lia  milteur  (Fr.  l;i-  mln-ui).  The  key  of  A 
minor. 

lianiperti,  Francesco  (I;im  -  par' -  tee).  The 
distinguished  teacher  of  singing  in  Milan,  was 
born  at  Savona.  in  1813,  studied  at  Milan, 
and  in  1850  was  appointed  professor  of  singing 
in  the  Conservatory,  from  which  he  retired  in 
1875.  L.  'eaches  the  old  Italian  method  of 
Farinelli,  etc.     Mile.  Albani  was  his  pupil. 

Ijaild  lied  (Gcr.  litnd'  leed).  A  rural  or  rus- 
tic song. 

liaiicor's  Quadrille,  a  popular  square 
dance  for  8  or  16  couples. 

liailg',  B.  J.,  the  distinguished  pianist, organist, 
conductor  and  teacher  in  Boston,  was  born  in 
1^40.     See  Addenda. 

IJang'e.  Gustav  (laug  -e),  a  pleasing  pianist  and 
favorite  composer  for  Ijis  instrument,  was 
born  1830  at  Schwerstedt.  Studied  with  his 
father,  who  was  an  organist,  and  later  in  Ber- 
lin with  Gustav  Schumann  and  Loeschhorn. 
Since  i85ohas  been  very  active  .ts  a  composer, 
having  published  over  250  pieces. 

Ijailge.  S.  de,  the  distinguished  organist,  pian- 
ist and  composer,  was  born  at  Rotterdam, 
Feb.  22,  1840.  He  was  taught  by  his  father, 
who  is  yet  organist  in  Hotterdam  Cathedral. 
He  studied  composition  under  T.  F.  Dupont, 
Damcke,  etc.  From  1863  to  1874  he  was 
located  in  Rotterdam  as  organist.  He  then 
spent  a  year  in  Basle,  and  one  year  in  Paris, 
since  which  he  has  resided  in  Cologne  as 
teacher  of  the  organ  and  composition  in  the 
Conservatory.  He  is  authorof  symphonies, 
string  quartettes,  overtures,  and  especially  of 
interest  ng  works  for  the  organ, 

IJailgliaU!^.  Wilhelm  (l.ang-hous),  a  German 
\ioliiiist,  composer  and  writer  about  music, 
born  Hamburg,  1832.  Studied  at  Leipsic, 
servel  as  concertmeister  and  conductor  at 
Dlisseldorl",  etc.,  and  finally,  in  187.,  took  up 
his  residence  in  Derlin,  where  he  is  engaged 
in  musico-literary  labors,  and  teaches  history 
in  KuUak's  Conservatory.  Isauthor  of  string 
quartettes,  etc. 

Ijailg^iani  (Ger.  lang -sam).  Slowly.  Equiva- 
lent to  largo,  or  adagio,  or  lento. 

liailgsamer  (Ger.  lang'-sam-Sr).     Slower. 

liansueiliente  (Ital.  lan-gue-man'-te).  Lan- 
guishingly. 


Jjanji^ueiido  fital.  Ian -gwan-do),  JLan- 
i^iiente  (Ital.  lan-gwan  -te),  Iiangtiido 

(Ital.     Ian -gwe-doj.     Languishing;    feeble; 
with  langor. 

Jjannor,  Joseph,  the  celebrated  conductorand 
composer  of  dance  music,  was  born  at  Vienna 
i  1  iSoi.  Became  a  conductor  at  a  very  early 
age,  and  died  in  1843. 

liarge,  the  longest  note  formerly  in  use,  equal 
to  eight  whole  notes. 

Largenieilt  (Fr.  larzh-manh).  Full,  free  in 
style. 

JLargflietto  (Ital.  lar-giit'-to).  A  movement 
not  quite  so  slow  as  largo. 

liai'SO  (Ital.  lar -go),  bro.ad.  A  slow  and  sol- 
emn movement.  This  word  is  frequently 
modified  by  others,  a.^  Largo  aaai,  very  largo  ; 
Largo  !tn  poco.  a  little  largo  ;  Largo  ma  non 
troppo,  largo,  but  not  too  much. 

Iiarglii!4NiniO  (Ital.  lar-ghes'-e  -  mo),  the 
superlative  oi largo.     Extremely  slow. 

LiarilSOt  (Fr.  lar'-i-go),  shepherd's  Hute  or 
pipe.  An  obsolete  name  for  an  organ  stop 
timed  an  octave  above  the  12th. 

Ijarynx.  the  upper  part  of  the  trachea.  It 
consists  of  five  annular  cartilages,  placed 
above  one  another  and  united  by  elastic  liga- 
ments. 

IJatiit  Shift,  on  a  violin  the  shift  to  the  20th 

line,  or  E. 

liast  tludifsnient.  The,  the  English  version 
of  Spohr's  oratorio  "  Die  letzten  Dinge," 
1830. 

liaSSCn.  Eduard,  was  born  at  Copenhagen 
1830,  but  educated  in  Brussels,  where  he  dis- 
tinguished himself  in  composition,  and  finally, 
in  1851  received  the  great  government  prize. 
He  went  to  Liszt  at  Weimar,  who  brought 
out  at  intervals  three  of  his  operas.  On 
Liszt's  resigning  the  directorship  Lassen  took 
his  place,  which  he  still  holds.  L.  is  a  fine 
writer  of  the  new  school,  having  composed 
operas,  songs,  a  symphony,  overtures,  etc. 

LasSUS.  Orlando,  or  Lasso,  a  Netherlandscom- 
poser  of  church  music,  born  about  1530,  who 
produced  a  great  mass  of  church  compositions, 
which  influenced  musical  progress.     D.  1594. 

liatOUl'.  Jean,  a  French  pianist,  and  compiser, 
born  at  Paris  1766,  and  settled  in  London  as 
pianist  to  the  Prince  of  Wales.  L.  was  a 
prolific  author  of  divertissments,  variations, 
etc.,  which  were  very  fashionable  in  theirday. 
He  died  in  Paris  in  1840. 

Ijailb.  Ferdinand  (loiib),  a  great  violinist,  the 
peer  of  Joachim  and  Wilhelmj.  Born  at 
Prague  in  1832.  After  the  usual  European 
experience  of  virtuosi,  he  settled  in  Berlin  in 
1856  as  teacher  of  violin  in  Stern's  Conserva- 
tory. His  tone  was  extremely  pur°,  full  and 
artistic.     D.  1875. 

Liailda  Sion.  the  name  of  a  sequence  sung  at 
High  Mass  on  the  least  of  Corpus  Christi, 
written  by  St.  Thomas  Aquinas,  about  1261. 

Lauds,  a  religious  service  held  at  daybreak. 

Ijaurens.  Alberto  (real  name  Albert  Lawrence), 
an  English  baritone  singer.  Born  about  1835. 
At  present  a  teacher  of  Italian  singing  in 
New  York. 

liaute  (Ger.  lou'-te).     The  lute. 


a<z/<?,  a,  add,  2  arm,  e  eve,  e  end,  i  ice,  1  ///,  o  old,  o  odd,  0  dove,  00  moon,  u  lute,  u  dut,  ii  Fr.  sound 


40 


LAU 


DICTIONARY. 


LEX 


liauterbsu'll.  Johaiiii  Cristoph,  one  of  the  first 
of  living  violinists,  wr»>  born  July  24,   1832,  at 
Culmbach,  studied  with  De  Beriot,  and  made 
many    concert  tours  since   1853.     Resides  in   ■ 
Dresden. 

fjay,  a  tune  or  song. 

I/C,  or  before  a  vowel  X'  (Fr,  lii),  the. 

Lieader,  the  first  or  principal  violin  in  an  or- 
chestra, the  director  of  a  choir. 

lieadilliS  Motive,  the  principal  motive  of  a 
musical  period  or  piece.  A  motive  becomes 
priticipal  by  being  repeated  more  times  than 
any  oth.er  in  principal  key  of  the  piece.  This 
term  is  also  used  to  denote  the  leading  mo- 
tives, or  "catch"  motives  of  Wagner,  and 
many  later  composers.  These  are  striking 
motives,  each  of  which  is  introduced  in  con- 
nection with  some  one  principal  character. 
See  also  Wagner  in  Chapter  Ll. 

liCading  IVote,  the  major  seventh  of  any 
scale,  so-called  on  account  of  its  strong  ten- 
dency towards  the  tonic. 

Kieltliaft   (Ger.    lab  -hiift).     Lively,  vivacious, 

cpiick, 

Iiebrun,  Francesca,  a  celebrated  operatic  so- 
prano, born  1756.  Died  1791.  Had  a  voice 
of  great  compass  and  purity.  She  also  com- 
posed sonatas,  etc. 

IJe  C'arpeiltier,  Adolphe  Clair,  a  French 
piano  composer  and  music  teacher,  bom  in 
i8og  at  Paris,     Died  i86g. 

liC  l/lair.  Jean  Marie,  aj  celebrated  violinist 
and  composer  for  his  instrument,  born  at 
Lyons  1697.  Died  1764.  Two  of  his  sonatas 
were  edited  by  Ferd.  David,  and  are  highly 
esteemed. 

IJet'OCq,  Charles,  the  popular  composer  of  comic 
operas,  operettas,  etc.,  was  born  in  Paris  in 
1832,  entered  the  Conservatoire  in  1849,  and 
distinguished  himself.  His  first  successful 
opera  was  "  Le  Docteur  Miracle,"  in  1S57. 
Among  his  most  popular  pieces  are  "  La 
Fille  de  M'me  Angot,"  1873,  which  ran  for 
500  nights  consecutively.  His  works  are  dis- 
tinguished for  life,  brio^  and  easy  gayety. 

liCCOn  (Fr.  Ia-s6nh)  lesson,  an  exercise. 

IJe  C'OUppey,  Felicien,  a  French  piano  com- 
poser, born  in  Paris  1814,  educated  at  the 
Conservatoire,  and  in  1843  appointed  pro- 
fessor of  harmony  there,  and  teacher  of  piano 
in  the  ladies  classes.  Is  the  author  of  many 
elementary  and  instructive  compositions. 

IjCCUreux,  Theodore  Marie,  a  French  pianist, 
organist,  and  composer,  was  born  at  Brest 
1829,  educated  in  Paris,  and  in  1848  returned 
to  Brest  as  organist  and  teacher  of  music.  Is 
the  author  of  many  elegant  and  pleasing 
salon  pieces. 

JLeilger  liilies  (perhaps  a  corruption  oileger) 
short  lines  added  to  the  staff  above  or  below 
to  extend  its  compass. 

JJeeds  Musical    Festival,  was  founded 

1858.  They  are  triennial  1874,  1877,1880. 
l^efeburo- Wely.  Louis  James  ( le-fii'-br  wii'. 
15),  a  distinguished  organ  virtuoso  and  im- 
provisalore,  was  born  181 7  in  Paris,  became 
his  father's  assistant  as  organist  at  the  early 
age  of  eight.  At  15  was  appointed  his  father's 
successor  at  St.  Roch.  Entered  the  Conser- 
vatoire in  1832.  Was  organist  of  the  Madeline 
from  1847  to  1858,  after  which  he  went  to  St. 
Sulpice.  Died  i86g.  Was  a  prolific  composer 
of  organ  music,  chamber  music,  symphonies, 
masses,  a  comic  opera,  etc. 


liCfSare  (Ital.  le-ga  -re).     To  slur,  or  bind. 

LiO^atO  (Ital.  IC-ga-td).  Slurred;  connected. 
On  the  violin  legato  notes  are  performed  with 
a  single  drawing  of  the  bow.  In  singing, /f^fa/o 
notes  are  delivered  with  one  continuous  tone. 
On  the  piano,  legato  requires  every  key  to  be 
held  down  until  the  next  is  struck.  The 
legato  is  indicated  by  a  curved  line,  drawn 
over  or  under  the  notes  to  be  thus  played. 

lie;;atissillIO  (Ital.  le-ga-tees  -s5-m6,  super- 
lative of  the  preceding).  As  legato  as  possi- 
ble. 

Jjeg'eilde  (Ger.  lag-en  -de).  A  legend,  or  bal- 
lad. 

lieger  (Fr.  la-zhii).     Light,  nimble. 

Liegerenieilt  (Fr.  lii-zhar-miinh).  Lightly; 
nimbly  ;  gaily. 

lie^ffierissiniO  (Ital.  led -jer-ees-se-mo). 
Very  lightly  (superlative  of  Leggiero.) 

Liegjfiero  (Ital.  led-je-ii -ro).  Light,  swift, 
delicate. 

LiejSKieranieiite    (Ital.    led-je-6r-man-te), 

Lightly,  swiftly. 

Jjeideiischaft  (Ger.  lid -en-shaft).  Passion, 
feeling. 

Lieideiiscliaftlioll  (Ger.  lld'-en-shaft-likh). 

Passionately. 
L^eier  (Ger.  Ii-er).     A  lyre,  a  hurdy-gurdy. 
liOise  (Ger.  H  -ze).     Low,  soft,  gentle. 
Ij«'iter  (Ger.  li'-ter).     Leader,  also  the  scale. 

LieitlllOtive  (Ger  lit-mo-tev).  A  leading 
motive. 

lieilllliens,  Nicolas  Jacques  (lem'-men\  A 
distinguished  Netherland  organist  and  com- 
poser for  the  organ,  was  born  Jan.  23,  1823,  at 
Zoerle-Parwys  in  Belgium.  He  studied  the 
organ  at  the  Conservatory  in  Brussels,  and 
afterwards  with  Hesse  at  Breslau.  In  1849 
he  became  professor  of  the  organ  in  the  Con- 
servatory in  Brussels.  L.  has  published 
many  brilliant  pieces  for  the  organ  in  a  school 
somewhat  between  the  gravity  of  the  German 
and  the  levity  of  the  French  ;  also  an  impor- 
tant organ  school. 

Lieiiinieiis-Sherrington,  Mdme.,  wife  of 

the    preceding,    is    a  prominent  Lnglish    so- 
prano, who  was  educated  at  Brussels. 

Ijeilioilie,  Jean  Baptiste,  was  a  French  opera 
composer,  born  1751.     Died  at  Paris  1796. 

JLeniolne,  Gabriel  L.,  son  of  the  preceding, 
was  a  prolific  composer  of  piano  and  chamber 
music.     1772-1815 

IjeilO  (Ital.  la -nO).     Weak,  feeble,  faint. 

Ijeilt  (Fr,  liinh).     Slow. 

Ijeiltaineilte  ( Ital.  len-ta-miin'-te).    Slowly. 

fiClltando  (Ital.  len-tiin -do).  Going  slowly. 
Synonymous  with  rullcntatido. 

IjeiltO  (Ital.  lan'-tO).  Slow.  Frequently  modi- 
fied by  other  words,  as  lento  assai,  very 
lento  ;  Ifuto  ill  7Holto,  very  much  lento. 

£>eilK.  Wilhelm  von,  Russian  councilor  at  St. 
Petersburg,  and  author  of  "  Beethoven  and 
His  Three  Styles  ''  (2  vols.,  1852),  "  Beetho- 
ven :  An  Art-Study"  (6  vols.,  i855-i86ot,  and 
an  interesting  little  book  on  Piano-forte  Vir- 
tuosi. Lenz  is  an  inaccurate  but  entertain- 
ing writer. 


a  alL\  a  ,1-1. ly  ii  ar;ic,  e  ez/i,]j  enJ,  i  ice,  1  ill,  o  ol.l,  o  oJ.l,  6  dozu,  00  ;«<><,«,  ii  lute,  u  but,  U  Fr.  sound 

4» 


LEO 


DICTIONARY. 


LIS 


IdCO,  Leonardo  (la  -0),  one  of  the  most  celebra- 
ted Neapolitan  composers,  was  born  1694,  and 
died  1746.  He  wrote  several  operas  and  a 
large  number  of  pieces  for  the  church. 

Lieoilliai'd,  Hubert,  a  favorite  Belgian  violin 
virtuoso,  composer  and  teacher  for  his  instru- 
ment. Born  1819  at  Bellaire.  Afte;  the  usual 
career  of  a  virtuoso,  he  settled  down  in  1849 
as  professor  of  the  violin  in  the  Conservator}' 
at  Brussels. 

Ijeoilliard,  Julius  Emil,  a  notable  German 
pianist,  composer  and  teacher,  born  i8io,  died 
1831  in  Leipsic. 

lieoiiorf  ou  PAmour  Conjugal.  An  opera- 
comique  in  2  acts,  words  by  Bouilly,  music  by 
Gaveau.\.  1798.  Translated  into  Italian,  the 
book  was  composed  by  Paer  in  1804.  Trans- 
lated into  German,  it  was  composed  by  Bee- 
thoven as  "  Fidelio."  It  was  B.'s  wish  to 
call  the  opera  Leonore,  but  he  was  overruled 
by  the  management  of  the  theatre.  His  four 
overtures  to  it  are  :  No.  i  in  C,  op.  138,  com- 
posed in  1807;  No.  2  in  C,  1805,  and  played 
at  the  three  performances  of  the  opera  ;  No. 
3,  C,  1806  ;  Fidelio,  in  E,  for  the  second  and 
final  revision  of  the  opera.   1814. 

IJeSflietitzky.  Theodor  (les'-chet-tit'-ski), 
a  distinguished  pianist,  for  some  time  profes- 
sor of  piano  at  St.  Petersburg,  but  now  living 
in  Vienna.  Is  the  author  of  many  pleasing 
pieces  for  the  piano.  Born  1831.  M'me 
Annette  Essipoflf  was  his  pupil  and  wife. 

Lieslie,  Henry  David,  was  born  in  London, 
June  18,  1822.  He  became  conductor  of  the 
choir  which  bears  his  name  in  1855,  through 
which  he  has  established  his  fame  as  a  re- 
fined and  highly  accomplished  conductor  of 
vocal  music.  Is  the  author  of  a  symphony  in 
F,  1847;  "  Immanuel,"  an  oratorio,  1853; 
"  Judith,"  oratorio,  1858  ;  "  Holyrood,"  can- 
tata, i860  ;  "Ida,"  opera,  1864,  etc.,  etc. 

lil'stocci,  opera  in  4  acts,  by  Auber,  1834. 

liesueur.  Jean  Franfois,  a  French  composer 
of  operas,  and  teacher,  born  1763,  and  in  1792- 
1796  appeared  as  the  author  of  several  operas. 
In  1813  L.  succeeded  Gretry  at  the  Institut, 
and  in  1818  became  professor  of  composition 
at  the  Conservatoire.     Died  1837. 

lit'vezza  (Ital.  le-vat'-tsii).     Lightness. 

JLiaiSOn  (Fr.  Ie-a-z6nh).  Smoothness  of  con- 
nection, also  a  bind  or  tie. 

Liiberameute  (.Ital.  le-be-rii-man'-te).  Free- 
ly, easily. 

Liibitum  (Lat.).  Pleasure;  ad  libitum^  at 
pleasure. 

IiilirettO  (Ital.  le-brat'-to~).  A  little  book.  In 
other  words,  the  text  of  an  opera  or  other 
dramatic  piece  of  music. 

liiceiise.  an  arbitrary  deviation  from  the 
established  rules.  Justifiable  only  by  some 
good  effect  thereby  attained, 

liie  (Fr.  le-a  ).    Smoothly,  the  same  as  legato. 

Liiebeslied  (Ger.  lee'-bes-leed).  A  love 
song. 

liiebig.  Karl  (lee'-big).  The  successful  founder 
of  classical  popular  concerts  in  Berlin,  was 
born  at  Schwerdt  in  1808,  and  was  for  some 
time  clarinettist  in  a  regimental  band.  He 
established  his  orchestra  in  Berlin  in  1850. 
Died  in  1872. 


liieblich  Oedaoht  (Ger.  leeb  -  likh  ge- 
dakht).  The  German  name  for  the  "stopped 
diapason,"  an  8  ft.  flute  stop  in  the  organ. 

liieblin^,  Emil  (leeb  -ling).  Concert  pianist 
and  teacher,  was  born  at  Berlin  in  iSji, 
studied  with  Kullak,  and  came  to  Chicago  in 
1872,  where  he  has  since  held  high  rank. 

liied  (Ger.  leedj.     K  song. 

liiedoheil  (.Ger.  leed'-kh'n).  A  short  song,  or 
melody. 

liiedrorin  (Ger.)     A  song-form. 

Liif dcr-JSpiel  (Ger.  lee  -der-speel).  "A 
Song-play,''  an  operetta. 

LiiederkreiS    (Ger.   leed'-er-krls).     A   cycle 

of  songs. 

liiedex*  oliue  "Worte  (.Ger.  Ieed-5r  6-nS  vor'- 
te).  bongs  without  words.  A  title  made  fa- 
mous by  Mendelssohn. 

liia:atur  (Ital.  le-gii-toor').     See  ligature. 

liig'ature,  an  old  name  for  the  tie  or  bind. 

liigbt,  a  general  name  applied  to  any  bright  but 
unimportant  composition. 

lA%\\t   of  the    ^Vorld,  The,  an  oratorio  in 

two  parts,  by  Arthur  S.  Sullivan,  1873. 

Ijillibui'lei'O,  a  celebrated  old  Irish  doggerel 
song  and  tune,  the  latter  by  Purcel. 

liilt  (Scotch).  To  sing  or  pipe.  Also  the  name 
of  a  quick  tune. 

Lilly  of  Killariiey,  a  grand  opera  in  3  acts, 
by  Jules  Benedict.     1862. 

Ijilld,  Jenny,  the  great  soprano,  was  born  at 
Stockholm,  in  1820.  Studied  singing  there 
and  afterwards  with  Manuel  Garcia  in  Pans. 
Her  debut  took  place  in  1842,  but  her  reputa- 
tion was  not  fully  established  until  1847.  ^^'^ 
American  tour  under  Barnum's  management 
was  in  1850  and  1851.  In  1852  she  married 
Mr.  Otto  Goldsmith,  the  pianist.  She  still 
lives  in  London. 

f.illdblad.  Adolph  Frederick,  Swedish  com- 
poser, mainly  of  vocal  music,  born  at  Stock- 
holm in  1804.  He  was  a  teacher  nf  singing, 
Jenny  Lind  being  one  of  his  pupils.  Died 
1878. 

liilldpailltner.  Peter  Joseph  von,  a  success- 
ful and  industrious  German  composer,  and  a 
superior  conductor,  born  at  Coblenz,  1791. 
In  1819  he  was  appointed  Kapellmeister  at 
Stuttgart,  and  held  that  place  until  his  death 
in  1856.  He  wrote  28  op^jras,  3  ballets,  5 
melodramas  and  oratorios,  6  masses,  and 
above  50  songs  with  piano  accompaniment. 

Lillke  (Ger.  lin'-ke),  left.     The  left  hand. 

lilnley,  an  English  musical  family.  Thomas, 
1725-1795,  was  a  composer  of  dramatic  pieces, 
and  takes  high  rank.  Three  of  his  daughters 
were  successful  singers.  Willi.am,  his  young- 
est son,  devoted  himself  to  literature  and 
music.     1767-1835. 

liipinski.  Karl  Joseph,  an  eminent  violinist 
of  the  modern  school,  was  born  in  Poland  in 
1790.  After  many  concert  tours,  in  which  he 
was  to  some  e.\tent  a  rival  of  Paganini,  L. 
became  Kapellmeister  at  Dresden,  where  he 
died  in  1861.  His  numerous  compositions  are 
now  nearly  all  forgotten. 

liisbetll.     The  French  title  to  Mendelssohn's 

"  Son  and  Stranger."    1865. 
liiscio   (Ital.  le'-she-O).      Simple,   unadorned, 

smooth. 


a  aCe.,  a  add.,  a  arm^  e  eve^  e  end,  1  ice,  1  ill,  6  old,  6  odd,  o  dove,  00  iito<,n,  u  lute,  u  but,  u  ».  sound 

42 


LIS 


DICTIONARY. 


LUR 


liisteniann.  Bemhard  Ferd.,  the  distin- 
guished violinist,  was  born  about  1838.  He 
graduated  at  Leipsic  in  1856.  In  1868  lie 
came  to  Boston,  where  he  has  since  resided, 
as  teacher,  first  violin  in  quartette  and 
symphony  orga.iizations,  and  at  last  in  1879 
as  conductor  of  his  own  orchestra. 

li'istesso  tempo  (Ital.  lTs-stas-s6  tam  pu) 

The  same  time,  in  the  same  speed. 

L/iSZt,  Franz,  the  king  of  the  piano-forte,  and  one 
of  the  most  remarkably  gifted  men  of  the 
present  century  was  born  in  181 1.  See  Chap- 
ter 50. 

Xiitany,  a  solemn  form  of  prayer. 

Liitollt',  Henry  Charles,  the  brilliant  pianist  and 
composer  of  salon  pieces  for  piano,  was  born 
in  London  1818,  was  a  pupil  of  Moscheles, 
and  made  a  successful  public  appearance,  as 
early  as  the  age  of  twelve.  He  removed  to 
Brunswick  as  music  publisher  in  1851,  and  in 
1861  to  Paris,  where  he  has  since  resided. 
He  is  also  a  composer  of  symphonies,  over- 
tures, etc. 

Liitlirsy,  the  ritual  for  public  worship  in 
churches  using  printed  forms. 

liObe,  J.  C,  the  distinguished  teacher  of  com- 
position and  music  at  Leipsic,  was  born  1797 
at  Weimar,  and  appeared  as  solo  flutist  in  the 
Gewandhaus  orchestra  in  Leipsic  in  1811.  In 
1842  he  removed  to  Leipsic  as  editor  of  a 
musical  periodical.  He  composed  five  operas, 
besides  overtures, etc.,  but  is  best  known  by 
his  letters  on  music,  and  his  remarkably 
interesting  Kompositionslehre  (4  vols.  8vo., 
1851  to  1867). 

IjOliegesai'g:,  eine  Symphonie  Cantata,  the 
German  title  of  Mendelssohn's  "  Hymn  of 
Praise,"  op.  52,  1840. 

IiOck,  Matthew,  an  English  musician  born 
1653,  died  1677.  Best  known  by  his  music  to 
"  Macbeth,"  and  "  Tempest.'' 

liOOO  (Ital.  lo  -ko),  place.  Denotes  that  a  pas- 
sage is  to  be  played  as  written,  and  not  an 
octave  higher  or  lower. 

LiOtloiska.  comedy  in  3  acts.  Music  by  Cheru- 
biiii.  179T.  Also  the  same  story  set  to  music 
by  Kreutzer.     1791. 

IiOeSCllllorn,  A.,  an  excellent  pianist  and 
musician,  was  born  in  Berlin  i8ig.  _  He  was  a 
pupil  of  Berger.  L.  is  a  fine  pianist,  the 
author  of  many  valuable  studies  and  other 
pieces,  and  professor  of  piano  since  1858  at 
Berlin. 

liOeive,  Karl,  an  industrious  composer,  born 
1796  at  Loebejuen,  and  died  1869.  Loewe 
wrote  5  operas,  many  ballads  and  small 
pieces,  and  several  instruction-books. 

IjOgier,  Johann  Bernard  (lo-jeer'),  was  born  in 
1780  at  Kaiserlantern,  andcame  to  London  at 
the  age  of  10.  He  made  a  great  success  and 
a  fortune  in  England  by  a  patent  system  of 
instruction  on  the  piano  and  in  harmony, 
which  was  for  a  time  all  the  rage.  He  died 
near  Dublin  in  1846.  He  is  said  to  have  been 
the  inventor  of  the  keyed  bugle. 

liOlieng'rili  (lo-hen-gren).  A  romantic  drama 
in  3  acts,  by  Richard  Wagner.  1847.  First 
produced  at  Weimar  by  Liszt  in  1850.  See 
Chapter  LI. 

LiOnibai'ili,  I  (e  lom-biir'-dee).  Italian  opera 
in  4  acts,  by  Verdi.     1843. 


liOllsa.  a  note  equal  to  four  whole  notes.     Not 

now  in  use, 

LiOlIK  Appoggiatura,  a  grace  note,  with- 
out a  stroke  through  the  stem,  which  in  old 
music  occupies  half  or  two-thirds  the  time  of 
the  following  note. 

liOllg:  Meter,  Iambic  tetrameter,  a  form  of 
English  verse,  consisting  of  eight  syllables 
to  the  line :  -^  —  l'-^  —  |^'  —  |  -'  —  |  . 

liOllg  Pause,  abbreviated  L.  P.,  implies  a 
very  long  pause  at  a  certain  note  or  rest. 

IjOihI  of  the  Isles,  The.  Dramatic  cantata 
by  Henry  Gadsby.     1879. 

fjOrtxillg.  Gustav  Albert,  an  opera  composer 
born  at  Berlin,  1803.  Died  at  Berlin,  1852 
Although  Lortzing  was  composer  of  very 
many  light  operas,  of  which  the  "  Czar  and 
Carpenter"  is  the  best  known,  he  died  in 
n'-glect.  His  writing  is  pleasing  and  musi - 
cianly. 

IjOrele.V,  Die,  "  The  Loreley."  An  opera  upon 
which  Mendelssohn  was  engaged  at  the  time 
of  his  death  in  1847.  2.  Also  an  opera  by 
Max  Bruch,  1864. 

liOtti,  Antonio,  a  celebrated  Italian  composer 
of  operas,  oratorios  and  church  music,  1667- 
1740.  One  song  of  his,  ^^ Pur  Dicesti^''  is 
still  current  and  admired. 

JjOlire  (Fr.  loor),  a  dance  of  slow  time  and 
dignified  character,  resembling  the  Gavotte. 

liOve'S  Triumph,  opera  in  3  acts,  by  Wm. 
Vincent  Wallace,  1862. 

IjO^ve,  Edward,  an  English  composer  of  church 
music,  and  professor  at  Oxford.  Born  about 
1615.     Died  1682. 

TiUeea,  Pauline,  (look-ka),  the  brilliant  and 
pleasing  operatic  singer,  was  born  in  Vienna 
in  1842,  made  her  debut  in  Berlin  in  1861. 
She  was  in  America  in  1873. 

liueia  cli  liamnieruioor  (loo'-tse-a  de 
lam'-mer-moor).  Opera  in  3  acts,  by  Doni- 
zetti, 1835. 

liUoio  Silla,  a  Dramma  per  viusica  in  3 
acts,  by  Mozart,  1772. 

liUerezia  Borgia  (loo-knld'-zt-ii  bor'-ja). 
Opera  in  3  acts,  by  Donizetti,  1834. 

Iiue.stucr,  Ignaz  Peter,  a  noted  violinist  and 
teacher,  born  1792  at  Pois-chwitz,  lived  main- 
ly at  Breslau,  where  he  founded  a  school  in 
violin  playing,  and  died  in  1873.  His  sons 
were  all  musical,  and  occupy  prominent  posi- 
tions in  different  parts  of  Europe. 

LiUelirs,  Carl  (leers).  A  talented  composerof 
symphonies,  songs,  etc.  Born  at  Schwerin, 
1824. 

liUisa  Miller,  opera  in  4  acts,  by  Verdi,  1849. 

Lulli.  Jean  Baptiste,  was  one  of  the  old  masters 
in  the  time  before  Bach.  He  was  a  French 
composerof  popular  operas  and  sacred  music. 
Born  1633  near  Florence.  Died  1687.  L. 
was  musical  director  to  Louis  XIV. 

LiUmbye,  Hans  Christian,  a  Danish  composer 
of  dances,  born  at  Copenhagen  1808,  was 
the  leader  of  an  orchestra,  like  Strauss's, 
Lanner's,  Gilmore's,  etc.  Died  1874.  His 
son  George  succeeded  to  his  father's  popu- 
larity and  leadership. 

liUrliue  (loor-leen).  Grand  opera  in  3  acts, 
by  Wm.  Vincent  Wallace,  1S60. 


a<t/f ,  i  add^  a  arm,  e  eve,  e  end,  1  ice,  I  ///,  6  old. 


I,  6  odd,  o  dove,  00  moon,  u  lute,  u  but,  u  Fr.  sound 
43 


LUS 


DICTIONARY. 


MAN 


liUSino^anito  (Ital.  loo-zen-gan'-do).  Flat- 
teringly, coaxingly.  Whence,  "in  a  soft  and 
tender  manner." 

liUstigen     Weiber     von     Windsor, 

"  Merry  Wives  of  Windsor,"  opera  in  3  acts, 
by  Otto  Nicolai,  1849. 

LiUttUOSO  (Ital.  loot -too  -  0-z6).  Sorrowful, 
mournful. 

liUte.  a  large  and  beautiful  stringed  instrument, 
with  a  long  neck  and  fretted  fingerboard,  with 
from  six  to  nine  strings.  The  body  was  pear- 
shaped.     Now  obsolete. 

liUX.  Friedrich  (loox),  a  distinguished  organ  vir- 
tuoso and  composer,  born  Nov.  24,  1820,  at 
Ruhla.  Educated  in  organ  and  piano  playing 
by  his  father,  who  was  Cantor,  and  in  1851 
music-director  in  Dessau.  Is  the  author 
of  a  symphony  and  many  considerable  works. 

liWOft",  Alexis,  a  Russian  violinist,  composer 
and  writer,  born  1799.     Died  1870. 

Liydian  Mode.  The  church  mode  having 
the  tones  F  G  A  B  C  D  E  F. 

Ijyre.  an  ancient  stringed  instrument.  The 
modern  lyre  has  its  representative  in  the 
hurdy-gurdy. 

Ijyx'ie,  song-like. 

]Lysberg.  Charles,  properly  Bovy,  hence  Bovy- 
Lysberg,  a  brilliant  pianist  and  composer  of 
salon  pieces,  was  born  in  Geneva  1821.  He 
studied  the  piano  with  Chopin  in  Paris,  and 
published  his  first  pieces,  under  the  psctido- 
nym  of  Lysberg,  in  1836  or  1838.  He  resided 
in  Geneva,  and  died  in  1873. 

M.  is  used  as  abbreviation  of  inezzo^  inetronotne^ 
mano^  etc.     See  "Abbreviations." 

Ma  (Ital.  ma).     But. 

Maas.  Louis,  virtuoso  pianist  and  teacher  at 
Leipsic.     Born  about  1850. 

Maofarren,  George  A.,I\Ius.  Doc,  the  Eng- 
lish composer  and  President  of  the  Royal 
Academy  of  Music,  was  born  March  2,  1813, 
and  educated  in  the  institution  of  which  he 
is  now  president.  Dr.  Macfarren  had  defect- 
ive vision  in  his  youth,  and  about  1865  he  be- 
came entirely  blind.  In  spite  of  this  he  has 
been  a  productive  composer,  being  the  author 
of  several  cantatas,  operas,  oratorios  part- 
songs,  of  which  "  St.  John,  the  Baptist,''  is 
one  of  the  best. 

Macfarren.  Mrs.  Natalia,  wife  of  the  preced- 
ing, is  a  contralto  singer  and  translator  of 
opera  libretti,  etc. 

Macfarren,  Walter,  brother  of  G.  A.,  is  also 
a  professor  of  the  piano  in  the  same  institu- 
tion, and  a  composer. 

Macbeth,  opera  in  4  acts  by  Verdi,  1S47.  2. 
Overture  for  orchestra  in  B  minor,  Spohr. 
3.  Also  music  to  Shakespeare's  tragedy,  by 
Matthew  Locke.     1673. 

Madrigal  (mad -re-gal).  A  composition  for 
three  or  more  voices  in  strict  style,  on  secular 
words,  popular  in  the  i6th  and  17th  centuries. 
Madrigals  were  full  of  imitations  and  fugues, 
and  sung  without  accompaniment.  'I'hey 
were  the  predecessors  of  the  modern  glee. 

Maestoso  (Ital.  mii-es-to  -z6).  Majestic, 
stately,  dignified. 

Maestri,  plural  of  ;«rtfj-/r(7. 

Maestro  (Ital.  mU-as-tro).  Master,  composer, 
a  skilful  artist. 


Maessig  (Ger.  mfis-sig).  Moderate,  mode- 
rately. 

Maggiore  (Ital.  mad-je-o'-re).  Greater,  ma- 
jor, the  major  key. 

Magnificat  (Lat.  mag-nef-i-kat).  "  My  soul 
doth  magnify  the  Lord,"  a  part  of  the  vesper 
service. 

Maid  of  Artois,   opera  in  3   acts,  by   Balfe 

1336. 
Main  'Fr.  manh).     The  hand,  as  tnain  dreii, 
right  hand  ;  main  gauche,  left  hand. 

Maistre,  Mattheus  le  (otherwise  known  as 
Matthias  Lemaitre),  a  distinguished  Nether- 
land  composer.  Born  about  15 10.  Died 
1577.  From  1554  he  was  kapellmeister  in 
Dresden. 

Maitre  (Fr.  matr),  a  master,  director. 

Majeur  (Fr.  ma-zhur).     Major,  major  key. 

Majesta  (Ital.  ma-yes-tii).     Majesty,  dignity. 

Majeste  (Fr.  ma-zhes-ta).  Same  as  the  pre- 
ceding. 

Major,  greater,  as  major/oiirth,  greater  fourth, 
etc. 

Major  Semitone,  a  diatonic  semitone,  as 
"E  F,  B  C,  F  sharp,  G,  etc. 

Malan,  Rev.  C^sar,  a  Swiss  theologian,  who 
composed  church  music.     i787-iS64.* 

MalenconiCO  (Ital.  ma-len-ko'-ne-ko).  Me- 
lancholy, sadness. 

Malibran,  Maria,  one  of  the  most  distinguished 
and  fascinating  sonranos  the  world  has  ever 
seen,  was  the  daughter  of  Manuel  Garcia. 
Born  1S08  at  Paris.  Made  her  debut  in  1825, 
and  immediately  achieved  success.  She  was 
married  to  De  Beriot,  the  violinist,  in  1836, 
the  year  of  her  death. 

Mai  linger,  Matilde,  a  celebrated  soprano  in 
the  Berlin  opera.  Born  1847.  Made  her 
debut  in  1866, 

Mancando  (Ital.  man-kan'-do).  Falling,  de- 
creasing, dying  away. 

Mandolin,  a  small  and  very  elegant  instru- 
ment of  the  lute  kind,  having  frets  like  a 
guitar,  and  four  or  five  pairs  of  strings,  set  in 
vibration  by  a  plectrum.  The  lowest  string 
is  of  gut  "  spun  over,"  the  next  of  steel  spun, 
and  the  others  of  steel  not  spun. 

Maniera   (Ital.  ma-ne-a'-ra).     Manner,  style. 

Maniere   tFr.  man-e-ar  ).     Manner. 

Mannerism,  adherence  to  the  same  manner 
or  peculiarities  of  style.  The  constant  recur- 
rence of  the  same  chord  or  phrase. 

Manns,  August,  the  eminent  conductor  of  the 
Crystal  Palace  concerts  in  Sydenham,  was 
born  at  Stolzenburg,  1825.  He  became  mem- 
ber of  a  military  band,  from  which  he  was 
transferred  to  Gung'l's  orchestra  in  1848,  and 
at  length  came  to  London  in  1854,  as  sub- 
conductor,  and  in  1855  as  full  conductor  in  his 
present  position,  in  which  he  has  been  of  the 
greatest  service  to  English  musical  taste  by 
introducing  the  best  German  works  in  a  su- 
perior manner. 

Mano  (Ital.  ma-no).     Hand. 

Manual,  pertaining  to  hands.  The  key-board 
for  the  hands,  as  distinguished  from  the 
pedaU,  the  key-board  for  the  feet. 

Manual  Coupler.  A  coupler  connecting  the 
keys'of  two  organ  manuals. 


a  ale,  a  add,  a  ariiu  e  eve,  e  end,  I  ice,  I  ///,  0  old^  6  odd,  6  dove,  00  moon,  \i.  lute,  u  but,  u  Fr.  sound 

44 


MAR 


J)iaTIONARY. 


MAT 


3Iai*a,  Gertrude  Elizabeth,  one  of  the  greatest 
cingers  of  the  past  century,  born  at  Cassel 
1749,  died  in  1833. 
Mai'Cia  (Ital.  mar-tshe-ii).     A  march. 
^lai'Cll.  a  quick,  or  at  least   decided   rhythm, 

suitable  for  marching. 
Mai'oello,  Benedetto  (mar-tshel-lo),  an  emi- 
nent Venetian  composer  of  cantatas,  psalms, 
and  church  music.     Born  1686.     Died  1739. 
Marcliaiicl,    Louis,  a  French  organist  of  dis- 
tinction, 1669-1732. 
Mai'fliesi,  Luigi  (miir-ka'-ze),  a  fine   operatic 

singer.     Born  at  Milan  1755.     Died  1829, 
MarclieSi,   Mathildi   de   Castrone,  the  distin- 
guished  teacher   of  singing  at  Vienna,  was 
born    at     Frankfort-on-the-Maine,   1826,    and 
made   herdebut  in  opera  in  1847.     Since  i85(. 
she  has  lived  in  Vienna.     Her  greatest  recent 
pupil  was  Etelka  Gerster. 
Mavcliesi,  Salvatore,  husband  of  the  preced- 
ing, is  also  a  vocal  teacher,  and  composer  of 
songs,  vocal  exercises,  etc.     Born  1822. 
Ulai'Clietti,  F.,   one  of  the  most  distinguished 
opera  composers  at  present  in  Italy,  vvfas  born 
in  1833. 
Marked,  accented. 

JIarkil't  (Ger.  miir'-kert).     Marked,  accented. 
Maretzek,    Max    (miir-et-zekl,    the    well- 
known  conductor,  composer,  and  impressario, 
was  born  in  1821  at  Briinn,  and  was  educated 
at  Vienna  and  Pans.     His  opera,  "Hamlet," 
was  written  in  1S43.     i^^  came  to  New  York 
in  1847,  where  he  has  since  resided. 
Mai'ilielli,  Galtano,  a  prolific  opera  composer. 
Born     1760    at    Naples.      Died    about    1811. 
Wrote  16  operas. 
Maria  cli  Koliail,  opera  in  3  acts,  by  Doni- 
zetti, 1843. 
Marino  Faliero,  opera  in   2  acts,  by  Doni- 
zetti, 1835. 
Mario,  Conte   dl   Candia,  one  of  the  greatest 
operatic  tenors,  was  born  of  a  noble  family  at 
Genoa  in  1812.     His  debut  was  made  in  1S38, 
after  which  he   ruled  king  of  operatic  tenors 
until   1867,  when   he   retired  from    the  stage. 
He  was  married  to  Mdme.  Grisi  about  1846. 
Maritaiia,  opera  in  3  acts,  by  Wm.  Vincent 

Wallace,  1845. 
Marpurg.  Friedrich  Wilhelm,  eminent  writer 
on  music  and  its  theory,  born  1718.     Died  in 
1795  at  Berlin. 
Marsellaise,   La.     A    French    revolutionary 
hymn,  words  and  music  composed  by  Rouget 
de  Lisle  in  1792. 
MartellatO  (Ital.  mar-tel-lii-to),  hammered. 
Strongly     marked.     (From     iiinrtellare^     to 
hammer,  also  mariellando,  hammering.) 
Martha,  opera  in  3  acts  by  Flotow,  1847. 

Martini.    Giovanni    Baptista   (mar-tee'-nee). 

Commonly  called  Padre  Martini,  one  of  the 

most  scientific  musicians  of  the  i8th  century, 

was  born  at  Bologna  1706.     He  was  ordained 

in   the  Franciscan  order  in  1722.     Died  1784. 

Author  of  a  history  of  music  and  a  work  on 

counterpoint  ;  also  of  many  church  and  secu- 
lar pieces. 
Marscliner,     Heinrich,     one     of    the    most 

talented  German  composers  of  recent  times, 

was  born   at   Zittau,   1795,  and  in    1830  was 

kapellmeister  to  the   King  of  Saxony.      He 

a,  ale,  a  add,  a  arm,  e  eve,  e  end,  \  ice,  I  ill,  o  old,  o  odd,  o  dove,  00  moon,  u  lute,  u  biet,  u  Fr.  sound 


composed  very  many  popular  operas,  and 
died  full  of  years  and  honors,  in  Hanover 
1861. 

Martiri,  I,  "  The  Martyrs,"  opera  in  4  acts, 
by  Donizetti,  1840. 

Marx,  Adol] :h  Bernhard.  an  elegant  and  fluent 
critic  and  theoretical  writer  niion  music,  was 
born  at  Hall(5,  1799,  and,  although  educated 
for  the  law,  became  in  1824  the  fiist  editor  of 
the  Berlin  Miisik  Zeituni;,  then  just  founded. 
He  became  professor  in  the  University  in 
1830.  Died  in  1866.  Was  composer  of  two 
oratorios  and  other  music. 

Marziale  (Ital.  miird-zeii  -If').     Martial. 

Masse,  Victor,  a  pleasing  French  opera  com- 
poser, was  born  1822  in  Lorient,  studied  with 
distinction  in  Paris,  and  has  composed  about 
16  operas.  Is  a  member  of  the  Academy,  and 
teacher  of  composition  in  the  Conservatoire. 

MasaniellO  (mas-sa-ne'-al-ir)>.  Otherwise 
known  as  "  La  Muette  di  Portici,"  opera 
in  5  acts,  by  Auber,  1828. 

Masiiadieri,  I,  "  The  Brigands,"  opera  in 
4  acts,  by  Verdi,  1847. 

Mason,  Lowell,  Mus.  Doc,  was  born  at  Med- 
field,  Mass.,  1792,  and  died  at  Orange,  N.  J., 
1872.  He  was  a  self-taught  musician.  His 
first  book  of  psalmody  was  published  in  1822, 
and  was  a  step  towards  better  rniisic  in  New 
England.  Dr.  Mason  was  peculiarly  an  edu- 
cator, and  as  such  exerted  an  extremely  im- 
portant influence,  which  is  still  very  per- 
ceptible. Owing  to  his  early  privations,  he 
was  not  a  musician  in  the  learned  sense  of 
the  term.  But  he  had  a  fine  sense  for  har- 
mony, and  the  gift  of  writing  simple  four-part 
music  agreeably  and  purely  for  voices.  He 
was  studious  in  his  tastes,  and  collected  a 
fine  library,  which  was  left  to  Yale  College. 
He  was  a  man  of  generous  and  noble  char- 
acter, as  well  as  great  ability,  and  would 
have  distinguished  himself  in  any  walk  of  life. 

Mason.  William,  Mus.  Doc,  son  of  the  pre- 
ceding, is  a  pianist  and  composer,  born  at 
Boston  in  1829.  Learned  the  piano  young, 
and  in  1851  studied  with  Moschelesand  Haupt- 
mann  at  Leipsic,  and  afterwards  with  Dreys- 
chock  at  Prague,  and  Liszt  at  Weimar,  where 
he  was  classmate  of  Billow,  Pruckner,  Klind- 
worth  and  Raff.  Mason  is  a  fine  harmonist, 
a  good  melodist,  and  a  composer  of  remark- 
ably elegant  pieces  for  the  piano.  Since  1856 
he  has  resided  in  Orange,  N.  J.,  and  occupies 
leading  rank  in  New  York  as  teacher  of  the 
piano.  He  is  also  author  of  a  new  and  vecy 
important  system  of  piano-forte  Technics. 

Mass,  the  music  for  use  during  the  service  of  the 
Mass. 

Matliilde  di  Sliabran,  opera  buff'e  in   3 

acts,  by  Rossini,  1821. 
Matilda  of  Hungary,  dramatic    opera    in 
3  acts,  by  Wm.  Vincent  Wallace,  in  1S47. 

Matins,  the  first  division  of  the  canonical  hours. 

Matinee  (Fr.  mii-lT-nii  ).  An  entertainment 
given  early  in  the  day. 

Mathews,  W.  S.  B.,  was  bom  at  Loudon,  N. 
H.,  May  8,  1837.  Began  the  study  of  music 
at  an  early  age,  and  became  teacher  at  the 
age  of  15.  Began  to  write  for  "  Dwight's 
Journal  of  Music "  in  1859.  Resides  near 
Chicago  as  teacher  of  piano-forte,  orgin,and 
musical  writer. 


45 


MAT 


DICTIONARY, 


MID 


Mattel.  Tito  (tee -to  mat-ta'-e),  a  popular 
composer  of  songs  and  piano  pieces  in  London. 

Mayer.  Charles  (ml'-er),  a  favorite  German 
piano  virtuoso,  composer  and  teacher,  born 
at  Konigsberg  lygg.  Appeared  early  as  a 
pianist.  Lived  much  in  St.  Petersburg,  and 
died  in  Dresden  1862.  As  a  player  he  be- 
longed to  the  school  of  Field. 

May  t^lieen,  The.  A  pastoral  cantata,  by 
Sir  Wni.  Sterndale  Bennett.     1855. 

MaKlirka,  a  rather  slow  Polish  dance  in  triple 
time. 

Measure,  the  grouping  of  pulsations  in  music. 
Measure  is  two-part,  three-part,  or  four-part. 
There  are  also  compound  measures  of  these 
various  grades,  in  which  each  unit  consists  of 
a  triplet.  Measure  includes  two  elements, 
both  of  which  are  essential  to  the  intelligibility 
of  music  ;  a  steady  movement  through  the 
piece,  and  a  clear  accent  at  the  beginning  of 
each  measure.  The  longer  measures  take 
also  secondary  accents,  at  the  beginning  of 
their  aliquot  parts. 

Measure-note,  the  note  which  represents  a 
unit  of  time.  It  is  always  indicated  by  the 
lower  figure  of  the  time-signature,  4  for  quar- 
ter-note, 8  for  eighth,  etc. 

Medee,  opera  in  3  acts  by  Cherubini,  1797. 

Mediant,  the  third  note  of  the  scale,  the 
medial  between  tonic  and  dominant. 

Medial  Cadence,  a  passing  or  imperfect 
cadence. 

Meeresstille  and  Ciluekliclie  Falirt, 

"Calm  sea  and  Prosperous  Voyage,"  poem 
by  Goethe.  Music  by  Beethoven  in  181 5. 
Also  by  Mendelssohn  for  orchestra  only,  1828. 
Also  by  Rubinstein. 

Melllig',  Anna,  a  distingui?;hed  pianist,  born 
at  Stuttgart  1846,  educated  there,  and  after- 
wards with  Liszt,  made  her  debut  in  England 
1866.  Was  in  America  in  1873  ^"^1  1874. 
Resides  in  Stuttgart.  Has  great  technic,  a 
refined  style,  but  somewhat  cold. 

Meliul,  Etienne  Henri,  a  celebrated  French 
composer.  Born  1763  at  Givet.  Went  to 
Paris  in  178  t,  and  came  out  as  a  composer  in 
his  fourth  opera  in  1790.  He  wrote24  operas, 
and  many  other  works.     Died  1817. 

Meistersinger  von  Xuernberg, "  The 

ISLaster  Singers  of  Nuremburg,"  opera,  by  R. 
Wagner,  1846. 

Melange  (Fr.  ma-liinzh').     A  mixture. 

Melaneolia  (Ital.  m61-an-ko -liii).  Melan- 
choly. 

Melodeon,  a  reed  instrument  having  a  key- 
board like  the  piano-forte. 

Melodic,  of  or  pertaining  to  melody. 

Melody,  a  tune  ;  a  symmetrically  organized 
and  completed  period. 

Melodia  (Ital.  ma-lo'-dia).     A  melody. 

Blelodia,  an  organ  stop  of  the  flute  tone,  8  ft. 

pitch.     Commonly  in  the  choir  organ. 
Melodic  (Ger.)     A  melody. 

Melodioso  (Ital.  ma-lo-de-o'-zo).  Melodi- 
ously. 

Melodrama,  a  drama  illustrated  by  music  in- 
terspersed, or  frequently  as  accompaniment 
to  the  spoken  dialogue. 

Melusine,  overture  by  Mendelssohn,  1S33. 
Also  set  as  choral  work  by  Hoffman. 


Menie  tFr.  mam).     The  same. 

jflendel,  Hermann,  editor  of  Mendel's  Musi- 
/calisishes  Conversations-Lexicon  (Musical 
Encyclopedia),  was  born  at  Hall^,  1834.  He 
undertook  his  lexicon  in  1870,  and  died  in 
1876,  just  as  the  work  had  reached  the  letter 
M.  It  has  since  been  completed  in  11  vol- 
umes, and  is  the  most  complete  work  of  the 
kind. 

Mendelssohn,  Felix,  was  bom  at  Hamburg, 
1809,  and  died  1847.     See  Chapter  XLVII. 

Meno   (Ital.  ma-no),   less  ;   meno    tnosso,    less 

movement,  slower. 

Mensur,  a  measure. 

Mennet  (Fr.  ma-noo-e).     A  minuet. 

Menuetto  (Ital.  ma-noo-et'-to).    A  minuet. 

Mercadante,  Xav.,  a  well-known  opera  com- 
poser. Born  at  Altamura  in  1798.  In  1840 
he  became  director  of  the  Conservatorium  of 
Naples.     Died   1870. 

Messa    di   Voce  (Ital.  mas-sade  v6'-tshee). 

The  gradual  swelling  and  diminishing  of  the 

voice. 
MeSSe  (Ger.  mes'-s§).     A  mass. 
Mesto  (Ital.  mas'-to).    Sad,  mournful. 

Mestoso   (Ital.    mas-to'-zo).     Sadly,  mourn- 
fully. 
Mess''  \,  The,  an  oratorio,  by  Handel,  1741. 
Met,  abbreviation  oi 3Ietronoiiie, 

Metal,  organ,  a  composition  of  tin  and  lead  in 
varying  proportions.  Tin  should  be  at  least 
one-third. 

Metronome  (met'-ro-nom).  A  measure  of 
time.  A  chronometer  invented  by  Maelzel, 
consisting  essentially  of  clock-work  and  es- 
cape wheel,  and  a  pendulum  swinging  on  a 
pivot  in  the  middle  of  its  length.  It  can  be 
made  to  go  slower  by  sliding  a  ball  up  towards 
the  top  of  the  pendulum.  The  rate  is  indi- 
cated by  the  letters  M.M.  for  the  metronome, 
a  figure  showing  the  place  of  the  ball  on  the 
graduated  scale  of  the  instrument,  and  a  note 
which  is  to  occupy  the  time  of  a  single  tick. 

Meter,  the  plan  of  verse  according  to  its  feet 
and  length  of  lines. 

Meyer,  Leopold  de  (mi -er).  An  eccentric 
pianist,  born  1S16,  a  pupil  of  Czerny,  visited 
America  in  1845  and  1868,  and  lives  in  Paris 
and  London. 

Me.verbeer,  Giacomo  (gia-ko-mo  mi-er- 
bar),  whose  real  name  was  Jacob  Meyer  Beer, 
the  celebrated  opera  composer,  was  born  at 
Berlin  of  a  wealthy  Jewish  family,  1791.  His 
debut  as  composer  was  made  in  181 1.  His 
best  known  operas  were  "  11  Crociato,''  1824, 
"  Robert  der  Teufel,"  in  1831.  and  "  Les 
Huguenotte,''  1836,  the  "  Prophete,"  1849. 
Died  1864.  All  these  operas  are  showy,  and 
extravagant,  rather  than  inspired. 

Mezza,  feminine  of  mezzo. 

Mezzo  (Ital.  mat-tso).     Half,  or  medium. 

Mezzo  Soprano,  a  voice  of  soprano  quality, 
buli  not  so  high  as  a  pure  soprano. 

Mi  (Ital.  me).  The  third  tone  of  the  scale  in 
solmization. 

Microphone  (mi'-kro-fon).  An  instrument 
for  observing  feeble  sounds  ;  a  microscope  for 
sounds. 

Middle  Voices,  the  inner  voices  in  choral 
writing,  the  alto  and  tenor. 


a  ale,  a  add,  a  arm,  ti  eve,  e  end,  1  ice,  \  ill,  6  old,  o  odd,  6  dove,  00  moon,  U  lute,  u  but,  li  Fr.  sound 

46 


MIG 


DICTIOXAKY. 


MOZ 


!^Ii;;ilOil,  opera  in  4  acts,  by  Ambroise  Thomas. 

jMilliS,  S.  1!.,  virtuoso  pianist,  composer  and 
teacher,  was  born  at  Leicester,  England, 
March  13,  iS^q.  Studied  at  Leipsic,  and 
came  to  New  York  about  1858,  where  he  has 
since  held  a  distinguislicd  position. 

Military  Banrt,  a  brass  band,  or  brass  and 
wood  (horns,  trombones,  cornels,  tulias,  clari- 
nets, oboes,  flutes,  piccolo  kettle-drum, 
snare-drum,  and  cymbal). 

Minor,  smaller. 

Minor  seeonrt,  a  diatonic  semitone. 

Minor  third,  a  third  equal  to  three  semitones. 

Minor  triad,  a  triad  with  a  minor  third. 

Minore  (Ital.  me-no-ret,  minor. 

Minor  Scale,  the  scale  beginning  with  the 
syllable  La,  or  the  6th  of  the  major.  See 
Mason's  "Piano  Technics,"  for  a  discussion 
of  the  M.S. 

Minnesingers,m!nstrels  of  the  12th  and  13th 
centuries,  who  wandered  from  place  to  place 
singing  a  great  variety  of  songs. 

Minstrels,  wandering  singers. 

Minuet,  an  ancient,  slow  and  stately  dance  in 
3-4  time,  usually  in  two  strains. 

Miserere  (Lat.  me-se-ra-re),  "Have  mer- 
cy," a  psalm  of  supplication. 

Missa,  a  mass.     Missal,  a  mass-book. 

Misterioso  (Ital.  mis-ta-rJ-o'-z6).  Mysteri- 
ously. 

MisuratO  (Ital.  me-soo-ra-to).  Measured,  in 
e.\act  time. 

Mixture,  an  organ  stop  composed  of  several 
ranks  of  pipes,  designed  to  strengthen  the 
harmonic  over-tones  in  the  klang.  "  Two 
rank"  mixtures  sound  the  12th  aud  15th  of 
the  noti  struck.  Three  rank  the  15th,  19th, 
and  22d.  Modern  mixtures  do  not  contain 
the  third  of  the  chord  (or  any  of  its  octaves, 
the  loth,  17th,  24th),  but  only  of^taves  and 
fifth:,  and  are  voiced  in  flute  quality.  They 
impart  a  clear  and  ringing  quality  to  the  tone 
of  the  full  organ. 

ModeratO  (Ital.  mod-a-rii'-to).     Moderately. 

3Iode,  a  scale  or  key,  "  Major  mode,"  major 
key. 

Modesto  (Ital.  mo-das'-to).     Modestly. 

Modulation,  a  harmonic  progression  out  of 
one  key  into  another,  by  means  of  ambiguous 
chords.  "  Modulation  of  voice"  means  con- 
trol of  the  voice. 

Modus  (Latin).     A  mode. 

Moins  (Fr.  mwa).     Less. 

Molique,  Bernhard  (mG-leek).  An  excellent 
violinist.  Born  at  Nuremburg,  1S02.  Died 
1869.  Wrote  concertos  for  violin,  trios  for 
piano,  violin  and  'cello,  and  an  oratorio, 
"Abraham,"  i860. 

Moll  (Ger.  mol).     Soft,  i.e.,  minor. 

Molto  (Ital.  mol'-to).  Much,  very  much,  a 
great  deal. 

Monoeliord,  an  instrument  composed  of  a 
single  string  stretched  over  a  sounding-board, 
along  a  graduated  scale,  for  measuring  musi- 
cal intervals. 

Monody,  a  composition  on  one  subject,  gener- 
ally of  a  sad  character. 


Monteverde,  Claudio,  one  of  the  greatest 
masters  in  his  time.  Born  1566  in  Cremona. 
Died  1 65 1.  He  wrote  operas,  and  deserves 
particular  honor  for  developing  recitative. 

Montre(Fr.  monh-tra  ),  "mounted,"  in  front. 
Hence  frequently  applied  to  the  diapason 
stop  in  an  organ,  because  its  pipes  are  often 
displayed  in  front. 

Mor«M»au  (Fr.  mor-so).  A  piece,  a  choice  piece. 

Mordent  (Ital.  mor-diin  -  tS).  A  transient 
shake  or  beat,  formed  by  the  principal  note 
and  the  next  above.     See  supplement. 

Moresea  (Ital.  mH-rSs-ka),  Moorish.  A  mor- 
ris-dan; e,  in  which  bells  are  jingled  and 
swords  clashed. 

Morlaechi,  Francesco  (mOi-lak-kee),  a  suc- 
cessful atid  meritorious  opera  composer,  born 

1784,  died  1S41. 

Morniiigton,  Earl  of,  father  of  the  Duke  of 
Wellington,  was  a  composer  of  glees  and 
church  pieces.     Born  1742  in  Ireland. 

Mortier  de  Fontaine,  bom  1818  at  War- 
saw, the  first  who  played  Beethoven's  gigan- 
tic sonata,  op.  106,  in  public. 

Moore,  Thomas,  an  English  poet  and  song- 
writer, born  in  Dublin  1779.  Published  his 
Iriik  Melodies'\\\  1823.     Died  1852. 

Morgan.  George  Washbourne,  the  distin- 
guished organist,  living  in  New  York,  was 
born  in  England  about  1827,  aud  came  to 
New  York  about  twenty  years  ago,  where  for 
a  long  time  h    was  organist  of  Grace  Church. 

Moselieles,  Ignatz,  the  distinguished  piano 
virtuoso  and  teacher,  wa=  born  at  Prague  in 
1794.  Studied  with  Zadrakha,  a'-d  later  with 
Dionys  Weber  and  Clementi.  He  made  his 
debut  in  1S15,  and  had  famou-:  success  all 
over  Europe.  He  resided  in  London  as 
teacher,  conductor  and  pianist,  for  some  years, 
and  joined  Mendelssohn  as  professor  of  piano 
at  the  Leipsic  Conservatory,  in  1846,  where 
he  died  in  1870. 

Moses  ill  Egypt,  an  opera,  or  oratorio,  by 
Rossini,  1827. 

MOSSO  (Ital.  mos'-so).     Movement,  motion. 

Moszkowski.  Moritz  (moz-ko'-ski),  one  of 
the  most  gifted  of  the  younger  composers, 
was  born  about  1853,  and  resides  ir.  Berlin, 
where  he  was  pupil  of  Kullak,  and  is  a  clever 
pianist.  His  compositions  are  mainly  for  the 
piano,  and  are  fresh,  musical  and  melodious. 

Motette  (mo-tet).  A  motet  ;  a  vocal  com- 
position, with  sacred  words.  The  line  be- 
tween motet  and  anthem  is  not  cle.arly  dr.iwn. 

Motive,  a  musical  figure  or  germ  employed  as 
a  text.     See  Chaps.  I.  and  X. 

Motion,  mode  of  progression.  Rhythvtic  J.I.  is 
progression  in  nf)tes  of  uniform  value,  or  in  a 
particular  rhythmic  figure,  through  several 
measures  orperiods.  See  Ch.ips.  VII. ,  VIII. 
and  IX.  Voice  M.  is  similar,  parallel,  con- 
trary, or  oblique.  CV'«^>vi/««/'rt/ M.  is  "  two 
against  one,'  "  three  against  one,"  "  four 
against  one." 

Moutlipieee,  that  part  of  a  trumpet  or  brass 
instrument  which  is  applied  to  the  lips. 

Mozart,  Leopold,  born  1719  in  .A.ugsberg.  Died 
1787.  He  was  an  excellent  mii-ician,  and  a 
tasteful  and  talented  composer,  and  vice- 
kapellmeister  to  the  Archbishop  of  Salsz- 
burg. 


a  ale,  a  add,  a  arm,  e  eve,  5  end,  I  ice,  1  ///,  6  old.,  6  odd,  6  dove,  00  moon,  u  lute,  u  out,  u  Fr.  sound 

47 


MOZ 


DICTIONARY. 


NAU 


Mozart,  Wolfgang  Amadeus,  son  of  the  pre- 
ceding, was  born  Jan.  27,  1756,  at  Salzburg, 
and  died  1791.     See  Chap  XLV. 

Muette  <li  Portiei,  II,  otherwise  known  as 
"  Masaniello,"  opera  in  5  acts,  by  Auber, 
1828. 

llueller,  A.  E.,  organist  of  the  St.  Thomas 
Church  at  Leipsic,  was  composer,  for  the 
piano-forte,  organ,  orchestra,  and  voices. 
1767-1S17. 

Mueller,  C.  E.  R..  an  organist,  pianist,  and 
composer.  Born  in  Chicago  about  1847,  edu- 
cated at  Stuttgart,  and  at  present  residing  in 
Chicago.  Is  translator  of  Lebert  and  Stark's 
piano  method. 

Mur.ska,  lima  di,  the  brilliant  singer,  was  born 
about  1843,  in  Croatia,  studied  singing  with 
Marchesi,  in  Vienna,  and  made  her  debut  in 
1862.  Her  voice  is  a  soprano  of  about  three 
octaves  compass  and  great  execution. 

Murray,  Jam°s  R.,  composer  of  school  and 
S.  S.  music,  born  at  Andover,  Mass.,  1841. 

Musette  (Fr.  moo-set').  An  instrument  of  the 
bag-pipe  family.  Also  an  air  in  2-4,  3-4,  or 
6-S  of  moderate  tempo  and  smooth  and  simple 
character. 

Music,  of  the  Future,  a  term  ironically 
applied  some  years  ago  to  the  music  of  Wag- 
ner. The  name  was  derived  from  his  essay 
under  the  same  title. 

Musical  History.  The  best  accounts  of, 
are  Brendel's  ''^  Gi'schickie  der  Alusik^^'  a.\\d 
Reissmann's.  Ritter's  two  small  volumes, 
and  Hullah's  "  Lectureson  Musical  History," 
are  to  be  recommended. 

Musical  liibraries.  The  best  in  tliis  coun- 
try are  those  of  the  Harvard  Musical  Asso- 
ciation, the  Boston  Public  Library,  and  that 
in  Yale  College. 

Music  Printing,  from  movable  types,  was 
invented  more  than  a  hundred  years  ago,  but 
only  within  the  present  century  has  it  become 
able  to  represent  instrumental  music  neatly. 

MnsikaliSClieS  Opfcr,  "  Musical  Offer- 
ing." A  name  given  by  Seb.  Bach  to  a  s'x- 
part  fugue  for  strings,  on  a  subject  given  him 
by  Frederick  the  Great.  1747.  This  is  ar- 
ranged for  the  organ  by  Haupt,  and  played 
by  Mr.  Eddy  and  other  virtuosi. 

Muta  (Ital.  moo'-tii).  Change.  Directs  the 
horn-player  to  change  his  mouth-piece. 

Mutation  Stops,  organ  stops  not  sounding 
the  8ft.  pitch.  Applied  especially  to  mix- 
tures, quints  and  twelfths. 

Mute  (Ital.  sordino^  Ger.  ddmp/er)^  a  contri- 
vance for  deadening  the  sound  of  stringed 
instruments,  by  pinching  the  bridge  and  so 
restricting  vibration. 

Xaainan.  oratorio  by  Costa,  1S64. 

XabUCO,  orXabucodonOSOr,  "  Nebuchad- 
nezzar," opera  in  3  acts  by  Verdi,  1842. 

IVachaniUng  (Ger.  niikh'-moong).    Imitation. 

Xachbanar,  Franz  (niikh-bowr),  a  noted 
German  tenor,  born   1835  at  Schloss  Giessen. 

Waclldruck  (Ger.  nakh'-drook).  Emphasis, 
accent, 

WaclnlrucltSVOll    (Ger.    niikh'-drooks-fol). 

Energetic,  emphatic. 
SfacltSatK  (Ger.  niikh'-satz).     The  second  half 

of  a  period. 


XacllSClllagV  (Ger.  niikh-schlag).  A  passing 
tone  ;  or,  if  one  might  say  so,  an  appoggia- 
tura  ci/ter  a  note,  instead  of  before  it. 

Xachspiel  (Ger.  nakh-speel).  After-piece; 
concluding  organ  voluntary  in  the  church 
service. 

lVaclltStuecke(Ger.  nakht'-steek-S).  Night 
pieces  ;  i.  c,  "  nocturnes."  A  name  given  to 
Schumann's  op.  23. 

Xaegeli,  J.  G.,  an  eminent  Swiss  educator, 
composerand  music  publisher,  born  at  Zurich 
1768.     Died  1836.         . 

!%8einia.  a  cantata  by  Goetz. 

Xagjelclavier,  a  keyed  instrument  of  5  oc- 
taves, made  about  1791. 

Xake«l  Fifths.     Open  consecutive  fifths. 

Xauilli,  Giovanni,  a  celebrated  Italian  com- 
poser, the  first  who  wrote  church  music  with 
organ  accompaniment.     Died  about  1620. 

IVaples,  School  of.  The  chief  masters  of  this 
class  were  Scarlatti,  Durante,  Leo,  Cotu- 
maccil,  Cafaro,  etc.  The  Conservatories  in 
Naples  were  founded  IS35,  1576.  'SSg,  and 
1584. 

Xapoleon,  Arthur,  a  promising  pianist,  born 
in  Lisbon,  1847. 

XaprO^Vnik,  Eduard,  composer  and  chief  di- 
rector of  the  Russian  Theatre,  in  St.  Peters- 
burg, was  born  in  1839.  Studied  at  Prague, 
distinguished  himself  in  composition,  and 
became  director  in  St.  Petersburg  in  1861. 

Xares,  James,  Mus.  Doc,  an  English  conduc- 
tor, composer  and  organist  of  York  Minster, 
born  1715.  Died  1783.  Author  of  harpsi- 
chord lessons,  collections  of  glees,  catches, 
twenty  anthems,  etc.  Had  little  imagina- 
tion, 

Xasal,  the  reedy,  unpleasant  quality  of  the 
voice  when  it  issues  in  too  great  a  degree 
through  the  nostrils.  The  nasal  quality  is 
characterized  by  too  much  prominence  of  the 
I2th  in  the  overtones. 

Xasat,  and  IKazard,  old  names  for  the  organ 
stop,  now  called  the  "  Twelfth." 

^asolini,  Sebastiano  (na'-zO-le'-ne),  Italian 
opera  composer,  born  in  Piacenza,  1768,  and 
at  the  age  of  twenty  appeared  with  his  first 
opera.  "  Separate  scenes  in  his  operas  hajd 
talent,''  says  Reissmann,  and  there  were  18  in 
all.     Died  1799  or  1810. 

m^atural,  a  character  used  to  annul  a  sharp  or 
flat. 

Xatural  Key,  a  name  improperly  applied  to 
the  key  of  C,  because  in  this  all  pitches  are 
represented  by  staff-degrees  in  the  "  natural  " 
condition. 

Xatural    Trumpet,    a     trumpet     without 

valves. 

Natural  Scale,  the  scale  of  C.  See  Natural 
Key. 

Xanniann.  J.  G.  (now-miin),  a  well  known 
composer  in  his  day,  born  1741  near  Dresden. 
Studied  in  Italy,  where  he  produced  his  first 
operas.  Was  kapellmeister  at  Dresden,  and 
died  there  1801.  He  left  11  oratorios  and  21 
masses,  and  12  operas. 

Xauniann,  Emil,  grandson  of  the  preceding, 
also  a  composer  of  merit,  was  born  at  Berlin, 
in  1827,  and  resides  chiefly  in  Dresden.  In 
iSSo  he  succeeded  W.  Rust  as  organist  of  St. 
Thomas'  at  Leipsic. 


a.aU,  a,  add,  ii  arin^  e  eve^  5  end^  1  ice^  1  ///,  o  old^  o  odd^  o  dove^  00  inaofty  11  Iiiie,  u  iui,  u  Fr.  sound 

48 


NAV 


DICTIONARY. 


NON 


JKava.  Gaetano  (na-viil,a  distinguished  Italian 
teaclier  of  singing,  and  composer  of  vocal  ex- 
ercises. Born  1802  at  Milan.  Died  1875. 
Among  his  pupils  was  Santley,  the  baritone. 

Xeoessario  (Ital.  nii-tshes-sa'-rT-o),  neces- 
sary. Indicating  that  the  passage  must  not 
be  omitted. 

Neapolitan  Sixth,  a  chord  consisting  of  a 
nunur  third  and  minor  sixth  to  .a  given  bass. 

XfcVi,  that  part  of  a  violin,  or  other  similar  in- 
strument, extending  from  the  head  to  the 
body,  and  carrying  the  finger-board. 

Xeefe,  C.  G.,a  musician  of  some  distinction  in 
his  day,  who  was  Beethoven's  instructor.  He 
was  organist  at  Bonn.    Born  1748.    Died  1798. 

Xeige  La,  on  le    Nouvel  JEgiiiliard, 

opera  in  4  acts  by  Auber,  1823. 

Xetfliseiiza  (Ital  nag-le-jan-tsii).  Negli- 
gence, carelesspess. 

Neitliardt,  August  Heinrich  (nit  -  hiirdt), 
founder  of  the  Berlin  Dom-Choir,  was  born 
at  Schleiz,  T793.  Served  in  the  army  about 
twenty-five  years,  and  in  1S39  was  made  royal 
music  director.  Died  1861.  Published  a  com- 
pilation of  the  best  church  music,  in  8  vols. 

aiel  (Ital.  nal),  also  Nella,  Nelle,  Nello  and 
NelV .  In  the  ;  at  the  ;  as  Nel stesso  ton/o, 
in  the  same  time. 

Xet  (Fr.  nfiK  also  Nett  (Ger.  net).  Neatly, 
clearly,  plainly. 

Xeron,  opera  in  4  acts,  by  A.  Rubinstein,  1879. 

Nei'lltla,  a  celebrated  German  family  of  violin- 
ists, of  which  M'rae  WiLHELMINE  NORMANN- 
Neruda  is  the  most  distinguished  living 
member.  She  was  born  at  Briim,  1840.  Mar- 
ried a  Swedish  musician  named  Ludwig  Nor- 
mann.  Plays  much  in  England,  and  is  a 
jrreat  favorite  as  leader  of  quartettes  in  the 
Popular  Concerts. 

Xethei'lands  School,  The,  embraced  such 
composers  as  Dufay,  1432,  Ochenheim,  1513, 
Josquin  de  Pres,  1521.  This  school  developed 
musical  science,  especially  counterpoint, 
earlier  than  any  other  in  Europe. 

Neukoilini,  Sigismund  Chevalier  (noi'-kom), 
was  born  at  Salzsburg,  177S.  Studied  with 
Michael  and  Joseph  Haydn,  and  appeared  as 
a  composer  in  1808.  He  led  a  wandering  life, 
always,  however,  having  good  appointments, 
and  spent  the  last  twenty  years  of  his  life  be- 
tween Paris  and  London.  Died  in  Paris, 
185S.  His  two  oratorios,  "  Mount  Sinai  "  and 
"  David,"  and  his  symphony  in  E  flat,  were 
played  several  time:;  in  England.  Was  an 
industrious  but  uninspired  composer. 

Xexus,  an  old  term  for  a  phrase  or  sequence. 

\i(*lit  (Ger.  nikht).     Not. 

Xicht  zu  geschw^iinl  (Ger.  nikht  zoo  ge- 
schvlnd').     Not  too  quick. 

Xlebellllisren  {^'■Dcr  Kin^  des  Nicbelun- 
^('«"l,  "The  Ring  of  the  Niblung."  A  se- 
quence of  four  operas  or  music-dramas,  by 
Richard  Wagner.  First  performed  1876.  The 
four  operas  in  the  series  are  :  Das  Rkeingold 
1854,  Die  W^alkiire  1855,  Sieg^/ried  1857-1859, 
Die  GotterdMi/niiernng  1871. 

Xiccolilli.  Joseph,  a  prolific  composer  of  Ital- 
ian operas,  born  1771,  died  1843  at  Piacenza. 
Author  of  9  operas,  5  oratorios,  30  masses,  2 
requiems,  100  psalms,  etc. 


!\i<*Olai,  Otto  ,("Ik'-o-in,  composer  of  the 
popular  opera,  '"  The  Merry  Wives  of  Wind- 
sor," was  born  ir  Kiinigsburg,  i8iq,  and  after 
serving  some  years  in  Berlin  as  organist,  ap- 
peared at  Vienna  as  conductor  in  1837.  Was 
appointed  kapellmeister  at  Berlin  in  1848, 
and  died  in  1849,  just  after  completing  his 
most  popular  opera. 

Ni<*olai.  Wilhelm  F.  G.,  was  born  in  1829  at 
Leyden.  Studied  at  Leipsic,  and  then  with 
Schneider  in  Dresden,  and  returned  to  Ley- 
den as  an  organ  virtuoso.  Is  professor  of  the 
organ  and  conductor  at  the  Hague. 

Nieclernieyer,  Louis(ne  -der-mi  -er),acom- 
poser  of  operas,  motettes,  masses,  and  teacher 
of  piano,  born  at  Nyon,  on  Geneva  Lake,  in 
1802.  Studied  with  Moscheles  and  Forster. 
Resided  mainly  at  Paris,  where  he  died  in 
1861. 

]^ii<Mliaiin,  Albert,  the  famous  German  tenor^ 

was  born  1831  at  Magdeburg.  Is"kammer- 
sanger "  at  Berlin,  and  played  the  part  of 
Siegmund  in  "  Die  Walkiire  "  at  Bayreuth  in 

1876. 

Xight-Horn,  a  name  sometimes'applied  to  a 

4  ft.  Ilule  in  organs. 

Night  l>ancei'S,  opera  in  2  acts  by  Loder. 

1846. 
]>IielsOll-RouilSeville,M'me  Christine,  the 

successful  piano-teacher  in  Chicago,  was  born 
at  Christiansand,  Norway,  Aug.  10,  1845. 
Was  a  pupil  of  Haberbier,  at  that  time  pro- 
fessor in  Leipsic,  and  in  1871  came  to  America, 
where  she  has  since  resided.  Was  married  to 
Dr.  Rounseville  in  1875. 

Nilli^Oll,  Christine,  the  celebrated  prima- 
douna,  was  born  in  Sweden,  1843,  ''"'^  early 
manifested  her  remarkable  talent  for  music. 
She  played  the  violin  and  sang  from  house  to 
house.  Her  voice  attracted  attention,  and 
she  was  sent  to  Stockholm,  and  afterwards  to 
Paris,  where  she  was  pupil  of  Wartel.  She 
made  her  debut  in  1864  as  Violetta.  In  1871 
she  was  in  America.  Her  voice  is  of  moder- 
ate volume,  great  sweetness  and  carrying 
power. 

Nocturne  (Fr.  nok-tiiml,  also  Notttirno^  a 
nocturne.  A  song-like  composition  of  a  soft 
and  tender  character,  as  if  suitable  for  the 
hours  of  night.     See  Lesson  XXXII. 

Node,  that  point  of  a  chord  at  which  it  divides 
itself  when  it  vibrates  by  aliquot  parts,  and 
produces  the  harmonic  overtones.  Any  over- 
tone car  be  prevented  by  striking  the  string 
at  its  own  node. 

Noel  (Fr.  no-el).     A  Christmas  carol  or  hymn. 

Nohl,  Ludwig  (noP,  a  well  known  writer  on 
music  and  musical  subjecti.  ("  Mozart's 
Letters,"  "  Beethoven's  Letters,"  etc.)  Was 
born  in  Westphalia,  1831.  He  was  educated 
at  Bonn  and  Heidelburg,  and  there  since 
1872  he  resides  as  professor  of  musical  history 
and  ajsthetics. 

Nohr,  Chr.  Friedrich  (nor),  a  violin  virtuoso 
and  conductor  at  Saxen-i\Ieiningen.  B.  rn 
1800.  Wrote  operas,  a  symphony,  etc.  Died 
1875- 

Non.  not ;  no  ;  as  non  vtolio^  not  much  ;  ticn 
tanioy  not  so  great ;  non  tro/>/>o,  not  too  much. 

None  (Ger.  no  -nP).  The  ninth.  Also  the 
the  last  of  the  lesser  hours  in  the  Breviary. 

Nonet,  a  composition  for  nine  voices,  or  in  nine 

voice-parts. 


a.  ale,  a, add,  a  ariic,  e  ez/e,  e  end,  I  ice,  1  ill,  6  old,  6  odd,  o  dove,  00  moon,  \\  lute,  \\  b:tt,  u  Fr.  sound 


49 


NON 


DICTIONARY. 


OCT 


Kon    nobis    I>oniino,  "  Not    unto   us,   O 

Lord."     A  celebrated  canon  sung  as  a  grace 
after  meat,  at  public  dinners  in  England. 

IVon  Plus  Ultra,  "  Nothing  more  beyond.'' 
The  bumptious  title  of  a  piano  sonata  by 
Woelfl,  op.  41,  in  lEo?. 

Woillie  Sanglante,  La,  opera  in  5  acts  by 
Gounod.     1854. 

Norma,  opera  in  2  acts,  by  Bellini.     1832. 

Xornial,  right  :  natural  ;  proper. 

]Vornial-ton  (Ger.  nor-mal  -ton).  The  tone 
A,  to  which  orchestral  instruments  are  tuned. 

^lornial  Scale,  the  natural  scale. 

]Korinal  School,  a  school  for  teachers. 

!KortIt,  James  O.,  a  teacher  of  singing  in  St, 
Louis.     Born  about  1830. 

Notation,  the  signs  by  means  of  which  music 
is  represented.     See  Appendix. 

Note,  a  sign  of  musical  utterance.  "Wv^  pitch 
is  indicated  by  the  staff  degree  on  which  the 
note  is  played  ;  the  length  by  the  form  of  the 
note. 

Note  Printing.  The  earliest  printing  from 
movable  types  was  by  Ottaviano  dei  Petruc- 
cio,  in  1466. 

Note-Head,  the  oval  part  of  the  note,  which 

occupies  the  pitch-place. 
Note-Stem,  the  line  running  from  the  head. 

Nottel>olini,  Martin  Gustav,  composer, 
teacher  and  writer  on  music,  was  born  near 
Ludenschied  in  1817.  Studied  in  Berlin  with 
Bergerand  Dehn,  and  afterwards  with  Sech- 
ter.  He  was  one  of  the  chief  editors  of  the 
critical  editions  of  Bach,  Handel,  Beethoven, 
Mendelssohn  and  Mozart.  His  compositions 
include  clavier  trios  and  quartettes,  solos  for 
piano,  etc. 

Nourrit,  Adolph,  a  highly  gifted  tenor  singer 
in  Paris,  born  1802.  Died  1839.  Was  profes- 
sor of  dramatic  declamation  in  the  Conserva- 
tory, 

Novelletten,  "  Novellettes,"  the  title  of  a 
series  of  8  piano  pieces  by  Schumann,  op.  21. 
1838. 

NovellO.  Vincent,  an  English  composer,  editor 
and  organist,  was  born  in  London,  1781.  Was 
organist  in  several  important  churches,  author 
and  compiler  of  much  church  music,  and  died 
at  Nice,  1861. 

NovellO,  Clara,  the  celebrated  soprano,  daugh- 
ter of  the  preceding,  made  her  debut  in  1833, 
and  was  the  leading  oratorio  and  operatic 
soprano  in  England  for  many  years. 

Novello,  Joseph  Alfred,  eldest  son  of  Vincent, 
was  a  bass  singer,  and  the  founder  of  Novel- 
lo's  "Sacred  Music  Warehouse,"  the  first 
depot  of  music  at  a  low  price,  and  the  begin- 
ning of  the  present  firm,  "  Novello,  Ewer  & 
Co."     Born  1810.     Lives  at  Genoa. 

NOZze  di   Figaro,    Le,    "  The    Marriage    of 
Figaro,"   opera   buffa    by 
Hochzeit )  ^  1776. 

Nuances  (Fr.  nil-ahn-s  ). 

of  e.\pression. 

Nuit  Blanches.  "  Restless  Nights."  The 
title  of  a  set  of  18  lyric  piano  pieces  by  Stephen 
Heller,  op.  £2. 


Mozart    (Figaro's 
Lights  and  shades 


Number.     The  several  pieces  or  sections  of  an 

opera  or  oratorio,  are  numbered  for  con- 
venience of  reference,  etc.  The  overture  is 
never  counted. 

Nunc  I>imittis,  "  Now  dismiss  us."  The 
canticle  of  Simeon,  St.  Luke,  ii  :  29,  etc.  A 
vesper  song. 

Nut,  a  slip  of  ebony  or  ivory  glued  to  the  neck 
of  the  violin,  at  the  upper  end  of  the  finger- 
board. 

2.  Of  the  bow,  a   piece  of  ebony  or  ivory 
over  which  the  hairs  pass. 

O  (Ital.  6),  or. 

Od  (Ital.  before  a  vowel  od),  or,  as,  either. 
Oakeley,  Sir  Herbert  Stanley,  Mus.  Doc,  was 
born  at  Ealing,  July  22,  1830,  and  educated 
at  Oxford.  Studied  music  with  Dr.  Elvey  and 
Schneider,  of  Dresden,  and  completed  at 
Leipsic.  In  1805  was  appointed  profe>sor  of 
music  in  Edinburg  University.  Composer  of 
songs,  anthems,  etc.  Is  a  good  organist. 
ObbligatO  (Ital.   ob-ble-ga-to).     Necessary, 

obligatory,  must  not  be  omitted. 
Oberon,   romantic    opera   in    3    acts,   by   von 

Weber,  1826. 
Oberthuer.  Chas.,  a  distinguished  performer 
on,  and  composer  for  the  harp,  was  born 
March  4th,  1819,  at  Munich.  Resides  in 
London,  and  has  composed  an  opera,  mass, 
and  many  compositions  for  harp. 
Ober-»verk   (Ger.   o-bSr-vark).      The   upper 

manual  on  a  two  manual  organ. 
Obligat  (Ger.   6b -11 -gat)        Indispensable, 

necessary. 
Oblique    Piano,   an    English   term  for    the 
diagonal  arrangement  of  strings,  usual  in  up- 
right pianos. 
Oboe   (Ger.   o-bo-e).      A  wooden  reed-instru- 
ment of  two  foot  tone.     It  is  played  with  a 
double   reed.     It  consists  of  a  wooden  tube  ■ 
about  two  feet  h  ng,  with  sound  holes  on  the 
sides,  like  a  flute.     Has  a  somewhat  plaintive 
and  wailing  tone. 
Oboe  d'  Amour,   an   oboe   exactly  like   the 
usual  one,   but   tuned  in   A,   a   minor   third 
lower. 
Oboe  di  CacciO,    an  old  name   for  an    oboe 

standing  in  %b  or  F. 
Oboe  Stop,  an  organ  stop  consisting  -A  imping- 
ing reeds  and  conical  pipes  of  a  small  scale, 
usually  in  the  swell  organ.  Owing  to  the 
reed  and  block  being  of  metal,  it  has  a  harsher 
tone  than  the  orchestral  oboe. 
Oea    del    i'airo,    "  The    Goose    of   Cairo," 

opera  buffa  in  two  acts,  by  Mozart,  1783. 
Ocarina   (o-ka-re'-na).    _  Terra-cotta    instru- 
ment somewhat  resembling  the  flageolet. 
O'Carolan,  or  Carolan,  Turlogh.  one  of 
the  last  and  most  famous  of  the  bards  of  Ire- 
land.   Born  1670.    Died  1738,  and  was  famous 
for  his  improvisations. 
Octachord,  an  instrument  or  system  compris- 
ing eight  sounds,  or  seven  degrees. 
Octave,  the  eighth  tone,  in  the  diatonic  scale, 
above  or  below  any  other.     The  octave  is  the 
most  perfect  consonance  in  music  except  the 
unison.    Its  ratio  is  2  :  1.    Octaves  are  equiva- 
lent in  harmony. 
Octave,  an  organ  stop  of  diapason  quality  and 
4  ft.  tone,  standing  an  octave  above  the  dia- 
pason. 


a  ale,  a  add,  a  arm,  e  eve,  e  end,  i  ice,  I  ill,  6  old,  6  odd,  o  dove,  00  moon,  u  lute,  u  but,  ii  Fr.  sound 


5° 


OCT 


DICTIONARY. 


()l{(i 


Octavo  Flute,  a  small  flute  an  octave  higher     | 
than  the  German  flute. 

Octave  SufcewsioilS.  or  "  consecutive  oc- 
taves," the  parallel  motion  of  two  voices  at 
the  interval  of  an  octave,  are  forbidden  in 
four-part  harmony,  because  they  temporarily 
reduce  the  number  of  parts  to  three. 

Octette,  a  composition  for  eight  voices  or  in- 
struments. 
Ode,  an  air  or  song  ;  a  hymn  of  praise. 

Oesten,  Theodore,  the  famous  arranger  of 
teaching  pieces  for  the  piano,  was  born  at 
Berlin,  Dec.  31,  1813.  Learned  various  in- 
struments, and  was  in  great  demand  as  a 
teacher  of  piano-forte.     Died  1870. 

Oeuvre  (Fr.  Uvr),  work  ;  composition  ;  piece. 
A  term  used  in  numbering  a  composer's  pro- 
ductions in  the  order  of  their  composition  or 
publication. 

Offenbach,  Jacques,  the  famous  composer  of 
opera  buffo,  was  born  at  Cologne,  1819,  of 
Jewish  parents.  Studied  music,  became  or- 
chestral conductor,  and  appeared  as  composer 
in  1853.  O.  composed  6g  pieces  and  143  acts 
within  25  years.    D.  1880. 

Offertoriuill  (Lat.  6f-ier- to-rl  um).  A 
hymn,  prayer,  anthem  or  instrumental  piece 
played  during  the  offertory. 

Oline  (Ger.  o'-ne).  without.     Ohne  begleitung, 

without  accompaniment  ;  ohne  pedals,  wLth- 

oiit  pedals  (in  organ  music)  ;  ohne  dd»ipfer, 

without    dampers    (with    the   pedal   pressed 

dovfn). 
Old  Hlllldredth,  The,  a  tune  long  associated 

with    the    100th    Psalm.     Supposed   to   have 

been  written  as  early  as  iSs'- 
Ondesgiaiite    (Ital.    on-dad-je-an'-te). 

Waving,  undulating,  trembling. 
Ongletir  (Fr.  onh-gliir).     An  old  term  for  a 

performer  on  the  lyre  or  harp. 
Olinipiade.  libretto  by  Metastasio,  composed 

over  31  times,  by  Caldara,   Leo,  Pergolese, 

Hasse,  etc. 
Olynipie,  lyric  tragedy   in  3  acts  by  Spontini, 

1819. 
Open  IHapasoii  (di-a-pa'-son).    The  most 

important  stop  in  an  organ.  It  consists  of 
metal  pipes,  of  large  scale  and  free  and  solid 
tone,  and  forms  the  foundation  of  the  tone  of 
the  full  organ. 

Open  Harmony,  or  Open  Position,  a  posi- 
tion of  chords  in  which  the  three  upper  tones 
of  the  chord  do  not  fall  within  the  compass  of 
an  octave. 

Open  Pipe,  an  organ  pipe  open  at  the  upper 
end. 

Open  Xote,  a  tone  produced  by  an  open  string, 
a  free,  uncramped  tone. 

Open  Strinsf,  a  stnng  vibrating  through  its 
whole  length.  Open  notes  on  the  violin  have 
more  resonance  than  those  produced  by 
"  stopping.'' 

Opera,  a  drama  set  to  music  for  solo  singers, 
chorus,  orchestra,  scenery,  and  dramatic  ac- 
tion. The  words  of  an  opera  are  called  the 
"  Book,"  or  "  Libretto."  Opera  dates  back 
to  the  15th  century.  The  principal  schools  of 
opera  are  the  Italian,  in  which  the  singing 
is  the  chief  thing,  tjie  French,  in  which  the 
dramatic  action  is  chief ;  the  German,  which 
aims  at  the  complete  union  of  action,  singing, 
and  music;'.l  description,  and  opera  buff  a  in 
which  the  absurd  and  laughable  is  aimed  at. 


0|>era  Itiiit'a,  comic  or  buffo  opera. 

Opei'a,  Italian.  The  greatest  composers  of 
this  school  were  Donizetti,  Bellini,  Rossini, 
Verdi. 

Opera.  Ciiernian.  The  greatest  composers  of 
this  school  were  Gluck,  Mozart,  von  Weber, 
and  Wagner. 

Opera,  Rnelish.  opera  in  English,  by  Eng- 
lish composers.  The  principal  masters  of  this 
school  are  Balfe  and  Wallace. 

Opera,  French.  The  principal  composers 
are  Haldvy,  Hdrold,  A.  Thomas,  and  Aleyer- 
beer,  although  the  latter  is  also  partly  Ger- 
man. 

Opera  Seria,  a  serious  or  tragic  opera. 

Opera,  (iraild,  opera  in  which  the  dialogue  is 
carried  on  by  means  of  recitatives. 

Operetta,  a  little  opera. 

Ophilcleide  (6f-I-klid).  A  large  bass  brass 
instrument,  of  deep  and  powerful  tone.  It 
has  a  compass  of  three  octaves  from  double 
B  flat. 

Opus  (Lat.  o'-pfls,  abbreviated  op.')  Work. 
Used  by  composers  in  numbering  their  works 
in  the  order  of  their  composition  or  publica- 
tion, as  op.  I,  op.  2,  op.  3,  etc. 

Opus  POHthunms,  a  work  published  after 
the  death  of  its  author. 

Orage  (Fr.  o-riizh),  a  storm.  An  organ  stop 
intended  to  imitate  the  noise  of  a  storm. 

Oratorio,  a  species  of  musical  drama  consist- 
ing of  arias,  recitatives,  choruses,  orchestral 
accompaniment,  etc.,  performed  without 
dramatic  action  or  scenery.  O.  was  origin- 
ally performed  as  a  religious  service.  See 
Chapter  XLI. 

Orchestra,  a  full  combination  of  stringed  and 
wind  instruments.  A  full  orchestra  should 
consist  of  not  less  than  eighty  to  one  hundred 
men,  disposed  as  follows  :  ist  violins  '20,  2d 
violins  18,  violas  10,  'cellos  10,  basses  10, 
oboes  2,  clarinets  4,  flutes  2,  piccolo  i,  bas- 
soons 2,  horns  8,  trumpets  4,  trombones  3, 
tuba  I,  kettle-drums  2,  snare  drum,  bass 
drum,  triangle  and  cymbal.  In  reducing  this 
the  horns  would  be  reduced  to  4,  and  as  a 
last  resort  to  2  ;  the  trumpets  to  2,  and  the 
clarinets  to  2.  Other  reductions  would  be 
made  in  the  strings.  The  smallest  number  of 
strings  compatible  with  blending  is  5  ist  vio- 
lins, etc. 
Orchestra,  that  part  of  a  theatre  occupied  by 
the  orchestra.     The  chairs  adjacent  to  it. 

Orchestrion,  an  instrument  of  the  organ 
kind,  arranged  to  be  played  by  means  of  a 
tune-cylinder,  or  barrel,  so  as  to  imitate  the 
sound  of  an  orchestra.  Large  instruments  of 
this  class  cost  as  high  as  $5,000. 

Organ,  a  wind  instrument  the  sounds  of  which 
are  produced  by  pipes  either  flue  or  reed,  and 
played  by  means  of  a  key-board  like  the 
piano-forte.  It  was  invented  from  A.D.  800 
to  1400.  The  essential  parts  of  an  organ  are 
a.belloius  tocollect  airand  force  itout  through 
the  pipes,  ■wind-ways,  a  sound-board  or 
■wind-chest  containing  the  valves  and  sup- 
porting the  pipes,  keys  for  opening  the  valves, 
and  pipes  for  making  the  sound.  Large  or- 
gans contain  one  large  bellows  with  several 
feeders,  as  many  wind-chests  as  there  are  key- 
boards, and  as  many  valves  as  there  are  keys. 
I  Concerning  pipes  see  Organ  Stop. 


,  ale,  ii  add,  a  arm,  5  eve,  e  end,  i  ice,  I  ill,  o  old,  o  odd,  0  dove,  00  moon,  u  lute,  il  but,  ii  Fr.  sound 


SX 


ORG 


DICTIONARY. 


PAG 


Ol'San  Music,  music  designed  to  be  played 
upon  the  organ. 

Organ  itttop,  or  Register  (German  Stim- 
^iiungy  voice).  A  set  of  pipes  voiced  alike,  one 
for  every  key  in  a  key-board  of  an  organ. 
Stops  are  classed  as  a?/a/ai-(7«,  including  the 
op.  diapason,  octave, and  15th;  string^\\o\A'\ 
gamba,  viol  d'  amour, salicional,  keraulophon, 
dolce,  and  dulciana;y?«i'(?,  the  flutes,  night- 
horn  and  stopped  diapason  ;  reed  the  oboe, 
cornopeon,  trumpet,  clarinet,  vox  humana, 
vox  angelica,  musette,  euphone,  trombone, 
bombardon,  etc. 

Organ  Stop,  or  Draw  Slop,  the  knob  at  the 
side  of  the  key-board,  which  moves  the  slides 
by  means  of  whijh  the  pipes  1  f  a  stop  are 
shut  off  or  admitted  to  communication  with 
the  valves. 

Organ  Builder,  one  who  builds  organs. 

Organ.  Chamber,  a  small  organ  for  use  in  a 
house. 

OrganO  (Ital.  or-ga -no).     An  organ. 

Ol'gano  Pleno  (Lat.  6r-ga -no  pla-no^. 
Full  organ  ;  all  the  stops  of  the  "  great  or- 
gan "  drawn. 

Organ  Pieno  (Ital.  pe-a'-no).  The  full  or- 
gan ;  all  the  stops  of  the  great  organ. 

Organ  Touch,  the  proper  method  of  touch- 
ing the  keys  of  an  organ. 

Organ  Tone,  a  tone  of  uniform  force  from  its 
beginning  to  end. 

Organ  Point  (called  also  Pedalpoint)^  a  bass 
tone  prolonged  for  several  measures  while 
various  coherently  arranged  harmonies  are 
performed  by  the  higher  parts. 

Organ  Trio,  a  composition  arranged  for  three 
single  parts,  emplo"ying  two  manuals  and  a 
pedale.  There  are  six  sonatas  of  Bach  writ- 
ten in  this  form. 

Organ  Manual,  the  manual  key-board  of  an 
organ.  They  are  designated  as  great,  swell, 
choir,  and  solo  organs. 

Organ  Pedale,  the  pedale  key-board. 

Orgue  Kxpressive  (Fr.  org  egz-pra-sef). 

The  harmonium,  or  reed  organ. 

Orlandi,  Ferdinand,  a  composer  and  professor 
of  singing,  born  in  Parma,  1777,  appeared 
as  opera  composer  in  iSoi.  Appointed  pro- 
fessor in  the  Mailand  Conservatory  1806. 
Died  1840.  Wrote  20  operas,  masses,  mo- 
tettes,  and  over  100  different  works. 

Orthography,  the  art  of  correct  spelling,  in 
obedience  to  which  one  writes  the  chromatic 
tones  according  to  their  derivation  and  har- 
monic relation. 

Oshorne,  G.  A.,  a  composer  of  pleasing  pieces 
for  the  piano,  was  born  at  Limerick  in  i8c6. 
Studied  in  Paris  and  came  to  London  1843, 
where  he  since  resides. 

Ossia<  (ItaL  6s-se-a).  Or,  otherwise,  or  else. 
Written  above  the  staff  in  connection  with 
an  easier  or  different  arrangement  of  the  same 
passage. 

OS8ia  pin  facile  (ItaL  os-se-a  pToo  fa-tshe- 
IP),  or  else  in  this  more  easy  manner. 

OstinatO  (Ital.  os-te-na-to).  Obstinate,  con- 
tinuous, unceasing,  adhering  to  some  peculiar 
melodic  figure,  or  group  of  notes. 


Ottava  (Ital.  ot-ta'-vii).     An  octave  or  eighth. 

OttaA'a  alta  (Ital.  al-ta\  the  octave  above, 
or  an  octave  higher.     Marked  8r/a 

Ottava  bassa   (Ital.   bas-sa).     The    octave 

below.  Marked  S&a  bassa ,  or  ?>va 

below  the  notes. 

Otto,  Ernst  Julius,  cantor  in  the  Dresden 
Kreuzschule  and  teacher  of  theory,  was  a 
composer  of  many  oratorios,  2  operas,  ma-ses, 
sonatas,  trios,  songs,  etc.  Born  1804.  Died 
1877. 

Otto.  Rudolph  Karl  Julius,  a  teacher  of  singing, 
and  distinguished  oratorio  singer  in  Berlin. 
Born  1829  at  Berlin. 

Ou  (Fr.  00),  or. 

OulibichefT,  Alexander  (oo-le-W-cbef ).  A 
Russian  writer  about  music,  best  known  by 
his  "  Beethoven  et  ses  trois  styles^'  was  born 
in  Dresden  1795,  and  died  at  Nischni-Novgo- 
rod  in  1858. 

Ouseley.  Rev.  Sir  F.  A.  Gore  (oos-le),  profes- 
sor of  music  at  Oxford,  a  writer  on  theory, 
and  composer,  was  born  in  1825. 

Ouverture  (Fr.  00-var-tiir).     An  overture. 

Overture,  an  introductory  instrumental  piece 
to  an  opera  or  oratorio,  or  even  for  separate 
performance.  Overtures  are  of  two  kinds, 
those  in  form  of  a  sonata-piece,  &\vi  potpourri 
overtures,  composed  chiefly  of  melodies  oc- 
curring in  the  work  following. 

P.,  abbreviation  oi piano  ^wA. pedale, 

Pabst,  August,  born  in  Elberfelde,  iSti,  was 
made  director  of  the  Conservatory  at  Riga  in 
1857.  Has  composed  four  operas.  His  two 
sons,  Louis  and  Paul^  are  talented  pianists. 

Pachelbel,  Johann  (pakh'-el-beH,  the  imme- 
diate predecessor  of  Sebas.  Bach,  as  com- 
poser, was  born  1653  at  NUrnburg,  and  occu- 
pied important  positions  as  organist.  Died 
1706. 

Pacher,  Joseph  A.  (pakh'-er),  pianist  and 
salon  composer,  was  born  1816  at  Daubro- 
witz.  Came,  at  the  age  of  16,  to  Vienna, 
where  he  afterwards  resided.     Died  1871. 

Pacini,  Giovanni  (pa-tshe-ne),  composer  of 
Italian  operas,  born  1796,  made  his  debut  as 
composer  at  the  age  of  18,  and  lived  at  Ven- 
ice,   and      afterwards    at    Milan.       Died     in 

1867. 

Pseon,  a  song  of  rejoicing  ;  a  hymn  to  Apollo. 

Paer.  Ferdinand  (pa'-er),  a  composer  of  Italian 
operas,  was  born  1771  in  Parma,  where  he 
made  his  first  successes  as  a  composer.  Later 
he  lived  at  Paris.  P.  wrote  about  50  operas, 
and  many  other  works.     D.  1839. 

Paganini,  Nicolo  (pag-an-en'-e),  the  wonder- 
ful violinist,  was  born  1784  at  Genoa.  He 
grew  up  in  poverty  and  cruelty,  but  per- 
severed in  his  study  of  the  violin,  in  which  he 
received  assistance  from  many  good  masters, 
and  in  1798  began  his  concert  tours,  in  which 
he  e.vcited  the  astonishment  and  admiration 
of  all  Europe.  He  brought  forth  many  com- 
positions in  new  forms,  which  htt  called 
Caprices^  which,  with  Bach's  6  sonatas,  stand 
as  the  most  original  and  remarkable  works  for 
the  violin.     Died  May  27,  1840. 


a  ale^  a  addy  a  arm,  e  eve,  e  end,  i  ice,  1  ill,  o  old,  o  odd,  o  dove,  00  moon,  ii  lute,  li  /.v.',  U  Fr.  sound 

S2 


PAI 


DICTIONARY. 


PAS 


PaiSiello,  Giovanni 'jo-vii -lie  pii-e-sel-lo),  a 
celebrated   composer   of   Italian   operas,  was 
born  1741  inTaranto.     Studied  in  Naplesand 
appeared  as  composer  at  the  age  of  15.     P 
traveled  over  Europe,  received  with  distinc- 
tion   everywhere,    writing   operas    for    Paris 
London,   St.   Petersburg,  etc.     He  wrote   in 
all  some  94  operas,  and  many  other  works 
and  died  1815  in  Naples.  ' 

Paix.Jacob,  a  prominent  musician  and  noted 
organist,  born  in  .Augsberg  about  1550.  He 
was  organist  in  Lannigen,  and  made  large 
and  elaborate  collections  of  motettes,  songs 
dances,  etc.,  by  the  best  composers  before 
him. 

Palaclilha,  Emil  (pa-la-dil-a),  a  French  com- 
poser, was  born  1844  '"  Montpelier,  studyine 
at  home,  and  with  Halevy.  showing  almos'^t 
equal  facility  on  several  instruments,  and 
made  his  appearance,  as  composer  of  a  sym- 
phony in  1S60.  He  has  since  produced  a 
large  number  of  compositions,  including  an 
opera,  three  masses,  very  many  songs,  with 
piano-forte  accompaniment,  as  well  as  a 
second  symphony,  overtures,  etc.,  for  opera. 

Palestrilia.  Giovanni  Pierluigi  de,  (pal-es- 
tre  -na),  the  father  of  Italian  church  music, 
was  born  about  1514  or  1524,  studied  at  Rome 
with  Uaude  Goudimel,  and  made  his  appear- 
ance as  a  composer  in  a  volume  of  four  and 
hve-voice  masses  in  1554.  p.  instituted  a 
reform  in  church  music  by  composing  it 
throughout  for  itself  instead  of  from  secular 
melodies  as  had  been  the  previous  custom 
His  music  is  deliciously  pure  and  noble.  He 
died  1594. 

Pallaviciui,  Carlo  (pa!  -la-ve-tse  -ne),  one  of 
the  finest  opera  composers  of  his  time,  was 
born  in  Brescia,  and  worked  in  Venice  from 
1666  to  1687.  In  1672  he  was  kapellmeister  in 
Dresden.  He  wrote  many  operas.  Died  168S. 

Pallet,  a  spring  valve  in  the  wind-chest  of  an 
organ,  covering  a  channel  leading  to  a  pine  or 
pipes. 

Palmer,  H.  R.,  Mus.  Doc.  Theorist,  composer 
and  conductor.  Born  1834.  Author  of  many 
popular  works.  His  "Theory  of  Music  '  is  ex- 
tensively used.  Received  the  degree  of  Doc- 
tor of  Music  in  1879.     Resides  in  New  York. 

Pandean  Pipe.*!,  one  of  the  most  ancient  in- 
struments of  music,  consisting  of  a  number 
of  reeds  or  tubes  of  different  lengths,  fastened 
together  and  tuned  to  each  other,  stopped  at 
bottom  and  blown  into  by  the  mouth  at  top. 

Panofka,  Heinrich,  violinist  and  professor  of 
singing,  was  born  at  Preslau,  1807.  Studied 
at  breslau  and  later  at  Leipsic.  Entered 
upon  Ins  career  as  violinist,  was  a  brilliant 
musical  critic  and  correspondent  of  Schu- 
mann s  paper,  and  settled  in  Paris  about  1848 
where  he  has  published  a  number  of  works 
tor  vocal  instruction. 

Pailtomillie,  an  entertainment  in  which  not  a 
word  IS  spoken  or  sung,  but  the  sentiments 
are  expressed  by  mimicry  and  instrumental 
music. 

Paiiseroil,  Auguste  Mathieu,  teacher  of  sing- 
ing and  author  of  many  works  on  it,  was  born 
in  1796  .Tt  Pans,  educated  there,  and  ap- 
pointed professor  in  the  Conservatoire  in 
1824.  He  was  the  author  of  several  operas 
and  over  200  romances.     Died  1859. 


'*''of*rh.*'?V  ^^■'°P'''"'\'on,  an  old  instrument 
of  the  dulcimer  species,  but  larger.  It  was 
more  than  nine  feet  long,  four  feet  wide,  and 
had  a  hundred  and  eighty-six  strings  of  gu-, 

thedulcim:r.P'^^^'^'"'  ^^'"^  ^-^^  ^^''^  '"'^ 

I»a|»aKeilO  floete  rCer.  pa-va-gl,an-0  flot-e).' 
i  an  s  pipes,  a  mouth  organ. 

Pape,  Willie,  a   brilliant  pianist  and  composer 

■    ^^'■';''''''    -^howy   arrangements    of  favorite 

ofllobir      '"^"""'  ''°''"  ^'^°"t  1840,  native 

Pai>l»ei-itK,  Beniamin  Robert,  was  born  in 
Firiia,  1820,  and  since  1851  teacher  of  piano 
at   Leipsic. 

ParartiNe    and    the  Peri,    a  cantata,  by 

Schumann,   1843. 

Parallel  Iflotion,  progression  of  two  voices 
in  the   same  direction  at  the  same  distance 

apart. 

Parallel  Fifths,  called  also  Consecutive 
I^ijt/is,  progression  of  two  voices  in  the  same 
direction  at  the  interval  of  a  fifth.  Always 
forbidden.  ' 

Parilllel  Keys,  the  major  and  its  relative 
minor. 

Parepa  Kosa,  Euphrosyne,  the  great  singer, 
was  born  in  Edinburgh,  1839,  made  her  debut 
in  Malt.a  at  the  age  of  16.  In  1867  she  came 
to  America,  and  awakened  the  most  enthusi- 
astic admiration.  Died  in  London,  1875. 
She  had  a  large,  pure  soprano  voice,  and 
sang  with  great  fullness  and  steadiness  of 
tone. 

Parish-Alvars,  Eli,  a  distinguished  harpist 
and  composer  for  his  instrument,  was  born  in 
London,  1808,  and  made  his  appearance  as 
virtuoso  at  the  age  of  15.  His  tone  was  large 
and  his  execution  elegant.  He  played 
Chopin  s  piano-forte  sonata  and  Beethoven's 
and  Hummel's  piano-forte  concertos,  with  the 
greatest  ease.     Died  at  Vienna  1847. 

Parlando.  (Ital.  par-Ian -dO),  accented,  in  a 
declamatory  style. 

Parod.^',  music  or  words  slightly  altered  and 
adapted  to  some  new  purpose. 

Parry,  John,  an  English  musician,  born  1776 
in  Denbight,  and  became  very  celebrated  as 
a  harp  virluoso  and  composer  for  his  instru- 
ment. 

Parsons,  Albert  R.,  a  pianist,  teacher  and 
composer,  the  translator  of  Wagner  s  "  Bee- 
thoven," born  ill  Indianapolis  about  1850,  and 
educated  at  Berlin.     Resides  in  New  York. 

Part,  the  music  for  each  separate  voice  or  in- 
strument. 

Parte  (Ital.  p2r-te).  A  part  ;  a  role  in  an  opera. 

Parte  Caiitante  (Ital.  pUr-te  kiin-tan-te). 
1  he  singing,  or  vocal  part. 

Partiniento  (Ital.  par-te-man -to).     An  e.v- 

ercise,  figured  bass. 

Partitnr  (Ger.  piir-tl-toor';.  A  score;  full 
score.     See  Score. 

Partita  (Ital.  par-te-tS).  An  old  term  synony- 
mous with  variation. 

Pas  (Kr.  pii).     A  step  ;  a  dance. 


^aU,-^.add,  u  arm,  e  eve,  e  end,  I  ice,  I  ///,  «  old,  o  odd,  0  dove,  00  moon,  u  lute,  u  Lut,  U  Fr.  soumi 


53 


PAS 


DICTIONARY. 


PER 


PasdelOlip,  Jules  (jool  pa-de-loo),  the 
founder  of  popular  classical  concerts  in 
France,  was  born  in  Palis  in  1819.  Educated 
at  the  Conservatory,  where  in  1833  he  took 
the  first  prize  for  piano-playing.  Appeared 
in  1851  as  director  of  the  Society  of  Yoim^ 
Artists,  whose  mis-ion  it  was  to  introduce 
classical  music,  in  which  he  has  been  very 
successful,  and  has  gained  the  approval  and 
favor  of  the  public. 

Pas  Seul  (Fr.  pa-sul).  A  dance  by  one  per- 
former. 

PaSSaoagliO  (Ital.  pas-sa-kal-ye-o).  A 
species  of  chacon,  a  slow  dance  in  3-4  time, 
the  music  consisting  of  divisions  or  variations 
on  a  ground  bass,  and  always  in  a  minor  key. 

Passaeaille  (,Fr.  pas-sii-kal).     A  passacaglio. 

Passage,  any  phrase  or  short  portion  ofan  air, 
or  other  composition.  Also  used  for  bravoura 
passages,  those  parts  of  a  piece  which  produce 
an  effect,  but  do  not  belong  to  the  melody  of 
the  piece. 

PassagiO  (Ital.  pas-sad-je-5),  a  passage. 

Pa^saniezzo  (Ital.  piis-sa-maf-so),  an  old, 
slow  dance,  little  differing  from  the  action  of 
walking. 

Passepiecl  (Fr.  pass-pe-a').  A  sort  of  jig,  a 
lively  old  French  dance  in  3-4,  3-8,  or  6-8 
time  ;  a  kind  of  minuet. 

Passing  ^otes,  notes  which  do  not  belong 
to  the  harmony,  but  serve  to  connect  those 
that  are  essential. 

Passion  Music,  music  composed  for  holy 
week. 

.Passions  Musik,  Bach  wrote  four  passion 
oratorios,  the  best  known  of  which  is  that  ac- 
cording to  St.  Matthew,  in  1729. 

Passionate  (Ital.  pas-se-6-na'-t6).  Passion- 
ate, impassioned,  with  fervor. 

Pasta,  Guidetta  (gwe-det'-ta  pas'-tii),  a  fa- 
mous dramatic  singer.  Born  at  Como,  1798, 
made  her  debut  at  Verona  in  1822,  and  sang 
with  the  greatest  success  throughout  Europe. 
Her  voice  was  of  large  compass,  and  very 
beautiful.     Died  1865. 

PasticiO  (Ital.  piis-tef-tshe-o),  a  medley,  an 
opera  made  up  out  of  songs,  etc.,  by  various 
composers. 

Pastoral,    a  musical  drama  on  a  rural  subject. 

Also  an  in-.trumental  composition  in  pastoral 

style. 
Pastorale  dtal.  pas-to-ra-le).     Pastoral. 
Pastorelle  (Fr.  pas-to-rfil).     A  pastoral. 
Patetico  (Ital.  pa-ta-te-ko).     Pathetic. 
Patiniento  (Ital.  pa-te-man'-to).     Affliction 

grief,  suffering. 

Patti,  Adelina,  and  Carlotta,  sisters,  distin- 
guished singers.  Carlotta  was  born  at  Flor- 
ence, 1840,  and  is  noted  for  her  delicate  and 
brilliant  execution.  Adelina,  born  at  Madrid, 
3843,  sang  in  concerts  at  an  early  age,  and 
since  1859  has  occupied  the  highest  rank  in 
Europe. 

Pauer.  Ernst  (powr),  pianist  and  composer, 
was  born  in  Vienna,  1826,  studied  there  with 
Dirzka  and  Sechter,  and  later  with  Mozart's 
second  son.  In  1851  he  came  to  London, 
where  he  has  since  resided.  Is  a  successful 
composer,  but  best  known  by  his  editions  of 
Schumann's  works,  etc. 


Pauke  (Ger.  poli-ke).     A  kettle  drum. 

Paul,  Dr.  Oscar  (powl),  professor  of  musical 
science  in  the  University  at  Leipsic,  was  born 
1836  at  Freiwaldau,  studied  theology  at  the 
University  of  Leipsic,  as  well  as  music.  In 
1866  he  was  appointed  to  his  present  position, 
in  which  he  has  distinguished  himsel..  Is 
teacher  of  the  piano  in  the  Conservatory. 

Pause,  a  delay  or  sudden  cessation  of  rhythmic 
movement  by  the  prolongation  of  a  tone  or 
chord.  The  character  -T^  which  requires 
this. 

Pavana  (Ital.  pa-vii'-na),  a  grave,  stately 
dance,  which  took  its  name  Uom. pa-vo,  a  pea- 
cock. It  was  danced  by  princes  in  their 
mantles,  and  ladies  in  gowns  with  long  trains, 
whose  motions  resembled  those  of  a  peacock's 
tail.  It  was  in  3-4  time,  and  generally  in 
three  strains,  each  repeated. 

Pavilion  (Fr.  pU-ve-yonh).  The  bole  of  a 
horn  or  other  wind  instrument. 

Pavilion    I'hiuois   (Fr.    pa-ve-yonh   she- 

iiwa).  An  instrument  with  numerous  little 
bells,  which  impart  brilliancy  to  lively  pieces 
and  pompous  military  marches. 

Pax,  Karl  Edward,  organist  of  the  charity 
church  in  Berlin,  was  born  at  Glogau  in  1802. 
A  composer  of  men's  songs,  and  instructive 
piano  pieces.     Died  1867. 

Pedal,  of  or  pertaining  to  the  foot.  Hence 
damper  pedal,  the  lever  by  which  the  foot 
r.aises  the  dampers  .from  contact  with  the 
strings  ;  soft  pedal,  a  lever  operating  mechan- 
ism for  diminishing  the  tone  ;  smell  pedal, 
a  lever  for  operating  the  blinds  of  the  "  swell 
organ;'  tone-sustaining  pedal, hy  means  of 
which  a  tone  is  prolonged  after  the  finger  is 
removed  from  the  key. 

Pedal  Piano,  a  piano-forte  fitted  with  organ 
pedals  for  practice. 

Pedal  Point,  see  Organ  Point. 

Pedal  I>Ol>l>io,  double  the  pedals,  that  is, 
play  with  both  feet,  a  direction  in  organ  play- 
ing. 

Pedals,  Combination,  pedals  for  drawing  stops 
in  the  organ. 

Pellegrini,  Angelo  (pel-le-gre -ne).  A  dra- 
matic composer,  born  in  Como  about  1805. 
His  three  operas  are  often  given.  JLtelindei 
1831,  La  Vedova  di  Bengala  1834,  //  diser- 
tore  s7'izzero  1841. 

PenSOSO  (Ital.  pen  sO'-zo).  Pensively,  mourn- 
fully. 

PentacllOrd,  an  instrument  with  fiva  strings, 
a  scale  or  system  of  five  diatonic  sounds. 

Pentatonic  Scale,  a  scale  of  five  notes, 
sometimes  called  the  Scotch  scale,  and  simi- 
lar to  the  modern  diatonic  major  scale  with 
fourth  ami  seventh  degrees  omitted. 

Pepusch,  Johann  Christoph,  was  born  at 
Berlin  1667,  where  he  lived  20  years,  when  he 
went  to  Holland,  where  his  first  compositions 
were  published,  and  then  to  England,  where 
he  achieved  great  success  as  a  composer.  Died 
1752. 

Perdendo(Ital.  par-dan -do),  Perdendosi 
(Ital.  par-dan-do -ze).  Gradually  decreasing 
the  tone  and  the  time  ;  dying  away  ;  becom- 
ing extinct. 


a  ale,  a  add,  a  arm,  e  ezie,  6  end,  I  ice,  i  ///,  o  old,  o  odd,  o  dove,  00  moon,  u  lute,  n  but,  U  Fr.  sound 

54 


PER 


DICTIONARY. 


PIC 


P«'ri«»«!.  a  melodic  or  harmonic  formation  con- 
sisting of  two  or  more  sections,  of  which  two 
must  stand  in  the  relation  of  antecedent  and 
consequent.     See  Part  Second. 

Perkins*,  Henry  S.,  a  teacher  and  writer  of 
choral  music,  was  born  at  Stockbridge  Vt., 
March  20,  1833.  Studied  music  at  Boston, 
and  commenced  his  work  as  conductor  of 
musical  conventions  in  i860.  Is  author  of 
about  twenty  collections  of  singing-class  and 
convention  music. 

Pei'liill!!!.  Jule  E.,  brother  of  the  preceding,  a 
good  pianist  and  composer,  and  a  fine  bass 
singer,  was  born  at  Stockbridge,  Vt.,  1845. 
Studied  singing  in  Paris  and  Italy,  and  made 
his  debut  in  opera  there  about  1868,  with  dis- 
tinguished success.  In  1873  he  joined  the 
Mapleson  Opera  Company  in  London.  Died 
at  Manchester,  England,  1875. 

Perkins,  W.  O.,  Mus.  Doc.  composer  and 
teacher  of  music,  brother  of  the  preceding, 
was  born  at  Stockbridge,  Vt.,  about  1829. 
Studied  in  Boston,  conducted  conventions, 
etc.,  since  i860.     Resides  in  Boston. 

Pei'lie,  Franfois  Louis  (pern),  a  learned  French 
teacher  of  musical  theory  and  composer. 
Born  1772  at  Paris.     Died  1832. 

Pei'Siani,  Josefo  (piir-se-a'-ne).  An  opera 
•composer.  Born  in  one  of  the  States  of  the 
Church,  1805. 

Perti.  Giacomo  Antonio  (par'-te).  A  notable 
composer  of  the  old  school.  Born  1661.  His 
first  mass  was  produced  undei  his  own  direc- 
tion in  St.  Peter's  in  1680.     Died  1756. 

Percussion  (Eng.  per-kush'-6n).  Striking, 
as  applied  to  instruments,  notes  or  chords  ; 
or  the  touch  on  the  piano-forte. 

Perfeet,  complete,  satisfactory.  The  perfect 
consonances  are  unison,  octave,  fifth  and 
fourth. 

Perfect  Cadence,  a  cadence  consisting 
essentially  of  the  chord  of  the  dominant 
seventh,  followed  by  the  tonic,  both  chords 
uninverted,  and  the  soprano  and  bass  having 
the  tonic  in  the  last  chord. 

Perpetual  Canon,  a  canon  without  an  end- 
ing, like  a  round. 

Pesante  (Ital.  pe-zan-te).  Heavy,  poriderous, 
with  importance  and  weight,  impressively. 

Pescllka-lieutner.  Minna  (pes-kha  loit'- 
ner).  A  brilliant  singer,  long  a  favorite  at 
Leipsic,  and  heard  in  this  country  in  1871. 
Born  1839  in  Vienna. 

PestalOSBzi,  Johann  Heinrich  (pes-ta-16t-zi>, 
the  celebrated  teacher,  was  born  in  Zurich, 
1746,  and  devoted  himself  to  improving  the 
method  of  teaching  children  by  presenting  to 
them  "  the  thing  before  the  sign.' ' 

Petrella,  Enrico  (an-re  -ko  pa-trel-'a),  an 
Italian  composer  of  operas.  Born  in  1813,  in 
Palermo,  educated  at  Naples,  and  produced 
at  the  age  of  15  his  first  oper.i.  Was  author 
of  about  twenty  operas.     Died'1877  in  Genoa. 

Pen  (Fr.  piih).     Little,  a  little. 

Pezze  (Ital.  pi.  pilt-se).  Fragments,  scraps, 
select,  detached  pieces. 

Pfeife  (Ger,  pfT'-fe).     Pipe,  fife,  flute. 

Pfeiffer,  Oscar,  pianist,  horn  at  Vienna,  1828, 
made  concert  tours  18*5-1867  in  Europe.  In 
1864  went  to  Rio  Janeiro,  where  also  he  had 
fine  success.     Composes  for  the  piano. 


Ptlushaupt,  Robert  (pflooghowpt),  a  bril- 
liant pianist.  Bor.i  1833  in  Berlin,  bludied 
with  Liszt.     Died  1863. 

Phantasie  (Ger.  f&n-la-see  ).  F'antasy,  fancy, 
imagination. 

Pllilidor,  Francois  Andre,  a  French  opera 
composer.  Born  1726.  Died  in  London, 
1795.  P.  was  the  inventor  of  French  comic 
opera,  of  which  he  composed  22. 

Pllilharnionic,  lovers  of  harmony,  a  society 
devoted  to  the  interests-of  music. 

Philosophy  of  Art,  the  relation  of  art  to 
the  huiu.ui  mind.     See  Part  Four. 

Phone  (Gr.  fo-ne).  The  voice,  a  sound  or 
tone. 

Phonetik  (Gr.  fo-nBt -Ik).  System  of  singing, 
or  of  notation  and  harmony. 

Plirase,  a  short  musical  sentence,  a  musical 
thought  or  idea  which  makes  sense,  but  not 
complete  sense. 

Phrasing,  the  art  of  uniting  tones  into 
phrases,  and  separating  phrases  from  each 
other,  as  well  as  the  proper  modulation  of  the 
sound  so  as  to  express  the  musical  idea. 

Phrygian,  one  of  the  ancient  Greek  modes. 

Physharnionica    (Gr.    fls-hiir-mon -i-ka). 

An  instrum^fnt,  the  tone  of  which  resembles 
that  of  the  reed  pipes  in  an  organ,  and  is  pro- 
duced by  the  vibration  of  thin  metal  tongues, 
of  a  similar  construction  to  those  of  the  har- 
monium. The  name  is  also  applied  to  a  stop 
in  the  organ  with  free  rccds^  and  with  tubes 
of  half  the  usual  length. 

Piacere  (Ital.  pe-a-tsha -re).  Pleasure,  incli- 
nation, fancy  ;  a  piacere,  at  pleasure. 

Piacevole  (Ital.  pe-a-tsha-vO-le).     Pleasing, 

graceful,  agreeable. 
Piaciniento  (Ital.  pe-ii-tshe-man  -to).    See 

piacere. 

Pianino  (Ital.  pe-ii-ne-no).  A  small  piano- 
forte. 

Piano  (Ital.  pe-a'-no).     Soft,  gentle. 

Piagentlo  (Ital.  pe-a-jiln'-do).  Plaintively, 
sorrowfully. 

Piano-forte.  The  distinguishing  feature  of 
the  piano-forte  is  the  use  of  an  elastic  ham- 
mer to  strike  the  strings.  Has  been  gradually 
evolved  through  countless  modifications  dur- 
ing the  last  two  centuries.  Steinway  &  Sons 
are  the  most  brilliant  and  successful  experi- 
menters during  the  past  twenty-five  years. 

Piano  a  queu  (Fr.  pg-ii  -no  U  kUh).  A  grand 
piano-forte. 

Piano  Score,  a  series  of  staves  arranged  for 
representing  vocal  music  and  its  piano-forte 
accompaidment. 

Piatti.  Alfred,  the  celebrated  'cellist,  was  born 
in  Bergamo,  1823,  and  appeared  in  public 
with  great  success  at  the  age  of  16.  In  1S46 
he  first  came  to  London,  where  for  the  most 
part  he  has  since  resided.  Is  author  of  a 
number  of  pieces  for  'cello  and  piano. 

Piliroi'h  (pi?  -brok).  A  wild,  irregular  species 
of  music,  peculiar  to  the  Highlands  of  Scot- 
land, performed  on  the  bagpipe. 

I»ic,chlcttatO  (Ital.  pe-ke-et-tli  -to).  Scat- 
tered, detached.  In  violin  playing  it  means 
that  sort  of  staccato  indicated  by  dots  under 
a  slur. 


aa/ir,  a,  add,  a  arm,  e  eve,  5  end,  i  ice,  1  ///,  o  old,  6  odd,  6  dove,  00  moon,  u  lute,  \x  but,,  u  Fr.  sound 


S5 


PIC 


DIOTIO  NARY. 


POI 


Piooilllli,  Nicolas  (pet-tshe -ne),  known  under 
the  name  Piccini^  a  celebrated  opera  com- 
poser, the  rival  of  Glui-k,  was  born  in  1728, 
near  Naples.  Educated  at  Naples.  Appeared 
as  composer  in  1747,  which  was  the  beginning 
of  along  and  brilliant  car  er  .ts  opera  com- 
poser. P.  lived  chiefly  at  Naples.  Died  at 
Passy,  1800. 

Picoillili,  Louis,  second  son  of  the  preceding, 
was  born  in  1766  at  Naples,  and  was  also  a 
very  good  composer.      D.  1827. 

Piecoloniini,  Marie  (pek'-ko-lo-me'-ne),  a 
pleasing  singer,  born  at  Siena,  1836.  Made 
her  debut  at  Turin  in  1855.  Came  to  Ameri- 
ca in  1858. 

Piece  (Fr.  pe-as  ).     A  composition  or  piece  of 

music  ;  an  opera,  or  drama. 
Pi'^no  (Ital.  pe-a-no).     Full. 

PietOSO  ( Ital.pe-a-to'-zo).     Compassionately, 

tenderly.     Implying,  also,  a  rather  slow  and 
sustained  movement. 

Pifferari  (Ital.  pi.  pef-fe-ra'-re).     Pipers. 

Pilate,  August  (pi-la-te),  a  composer.  Born 
at  Bouchain,  1810,  educated  at  Pans.  Brought 
out  his  first  opera  about  1854. 

Pinee  (Fr.  panh-sa).     Pinched.   ^^^ pizzicato. 

Pipe,  any  tube  formed  of  a  reed,  or  of  metal  or 
wood,  which  being  blown  into  at  one  end, 
produces  a  musical  sound.  The  pipe^  which 
was  originally  no  mere  than  a  simple  oaten 
straw,  was  one  of  the  earliest  instruments  by 
which  musical  sounds  were  attempted. 

Pipes  of  Pasi.     See  Pandean  Pipes. 

Pieseiltlel.  Johann  George,  a  distinguished 
German  violinist.  Born  at  Karlesburg,  1687. 
Played  and  conducted  in  all  the  principal 
cities  in  Europe,  and  died  17S5. 

Piston  (Fr.  pis-tonh).  A  valve  in  a  brass  in- 
strument. Hence  cornel  a  piston.,  cornet  with 
valves. 

PitO.U,  means  "  point,"  the  highness  or  lowness 
of  sounds.  That  quality  of  tones  which  de- 
pends on  the  rapidity  of  the  vibrations  pro- 
ducing them.  Pitches  are  named  by  letters, 
as  A,  A  sharp,  B,  C,  etc.  The  diflferent 
octaves  are  distinguished  as  large,  small, 
once-marked.,  etc.,  namely.  Middle  C  and 
the  six  degree-;  above  it  belong  to  the  "  once- 
marked  octave"  and  written  e,  a,  etc.,  ore',  d', 
e',etc.;  the  octave  above  this  is  the  "twice- 
marked  octave"  c",  d",  e",  f",  etc.  The 
octave  below  middle  C  is  the  "small  octave," 
written  c,  d,  e,  etc.,  the  octave  below  this  the 
"  large"  octave,  C,  D,  E,  etc.,  below  this  the 
"  double"  octave,  CC,  DD,etc.  Pitches  are 
also  distinguished  as  "8ft,"  "4ft,"  "  2ft,"  or 
"i6ft,''  according  to  the  length  of  the  pipes 
producing  them.  Organ  stops  are  designated 
in  this  way  according  to  the  length  of  the  pipe 
producing  the  tone  for  the  finger-key  two 
octaves  below  middle  C.  The  standard  pitch 
is  8ft.  A  stop  of  this  pitch  gives  for  every 
note  sounds  agreeing  with  the  voice  ;  i6ft. 
stops  give  sounds  an  octave  lower  ;  4ft.  stops 
an  octave  higher,  2rt.  an  octave  higher  still. 

Pitcll,  Coi.cert.  French  pitch  is  about  522  vi- 
brations per  second  for  middle  C.  Concert 
pitch  is  higher,  about  540. 

Piu  (Ital.  pe-oo).  More.  As  pi u  allegro,  more 
allegro  ;  piu  yorte,  moie  forte  ;  pin  ii/oto, 
quicker,  etc. 


Pixis,  Friedrich  Wilhelm,  an  organist  in  Mann- 
heim, 1770,  a  pupil  of  the  Abbe  Vogler.  Au- 
thor of  a  number  of  works  for  organ  and  piano. 

Pizzicato  (Ital.  pet-se-ka-to).  Pinc/ted, 
meaning  that  the  strings  of  the  violin,  violon- 
cello, etc.,  are  not  to  be  played  with  the  bow, 
but  pinched,  or  snapped  with  the  fingers, 
producing  a  staccato  efi^ect. 

PIacl«lailieiite    (Ital.  p!a-tshe-da-man-te). 

Calmly,  placidly,  quietly. 

Plagal,  ancient  modes  in  which  the  melody 
was  confined  between  the  dominant  and  its 
octave. 

Plagal  Cadence,  a  cadence  i.n  which  the 
final  chord  on  the  tonic  is  preceded  by  the 
harmony  of  the  sub-dominant. 

Plain  Sitong,  or  Plain  Chant,  the  name 
given  to  tlie  old  ecclesiastical  chant  when  in 
its  most  simple  state  and  without  those  har- 
monic appendages  with  which  it  has  since 
been  enriched.  The  ancient  music  for  the 
psalms  and  liturgy. 

Plaintif  (Fr.  planh-tef).     Plaintive,  doleful. 

PlaC|Ue  (  Fr.  pla-ka  ).  Struck  at  once ,vi'n\\o\it 
any  arpeggio,  or  embellishment. 

Plaquer  (Fr.  pla-ka).  To  strike  at  once, 
speaking  of  chords. 

Plectrum  (Lat.  plek'-trum).  A  quill,  or 
piece  of  ivory  or  hard  wood,  used  to  twitch 
the  strings  of  the  mandoline,  lyre,  etc. 

Plein  Jeu  (Fr.  planh  zhii).  Full  organ.  The 
term  is  also  applied  to  a  mixture  stop  of 
several  ranks  of  pipes. 

Pleno  (Lat.  4)la'-no).  Full.  See  "  Full  Organ." 

Pleyel.  Ignaz  (pll  -el),  composer  of  a  great 
number  of  instrumental  works,  was  born  the 
twenty-fourth  son  of  his  father,  about  1757, 
near  Vienna.     Died  1S31. 

Pleyel,  Camille,  eldest  son  of  the  preceding, 
also  a  good  composer,  was  born  at  Strassburg, 
1792.     Died  in  Paris,  1855. 

PliCO  (Lat.  ple'-ko).  A  kind  of  ligature  used 
in  the  old  music,  as  a  sign  of  hesitation  or 
pause. 

Pnenniatle  liCA'er,  a  contrivance  for  di- 
minishing the  weight  of  touch  on  large  organs, 
invented  by  Mr.  Charles  Barker,  of  London, 
and  afterwards  of  Marseilles.  It  consists  of 
a  small  bellows  about  a4  inches  by  3,  for  every 
key.  When  the  key  is  pressed  it  opens  a 
valve  into  this  bellows,  which  is  immediately 
inflated  and  thereby  opens  the  valves  belong- 
ing to  the  key  touched.  The  "pneumatic 
action"  completely  softens  the  touch,  which 
on  large  org.ius  amounts  to  several  pounds 
per  key,  but  it  results  in  a  loss  of  time.  In 
order  to  diminish  this  as  much  as  possible, 
the  pneumatics  are  operated  by  a  "  heavy 
wind,"  of  a  pressure  equal  to  a  column  of 
water  6  inches  high,  or  thereabouts. 

Pochette  (Fr.  po-shet).  A  kit,  a  small  violin 
used  by  dancing  masters. 

POCO  (Ital.  po-ko).  Little;  as  poco  a  poco,\\l- 
tle  by  little  ;  uu poco  adagio,  a  little  adagio. 

Pohl,  Karl  Ferdinand  (pol),  the  popular  author 
of  "  Mozart  and  Haydn  in  London,"  Biogra- 
phy of  Haydn,  etc.,  is  an  organist,  and  was 
born  1823  at  Berlin  and  studied  in  Vienna 
with  Sechter. 

Poi  (Ital.  po-e).  Then,  after,  afterward  ;  piano 
poi  forte,  soft,  then  loud. 


a  ale,  a  add,  a  arm,  e  eve,  o  end,  I  ice,  \  ill,  0  old,  6  odd,  6  dove,  00  moon,  u  lute.  \i  loii,  ii  Fr.  sound 

r'; 


POL 


DICTIONARY. 


I'KO* 


Polacca  (Ital.  po-lak -ka).  A  Pnlish  national 
dance  in  3-4  time  ;  a  dance  tune  in  which  an 
emphasis  is  placed  on  the  first  unaccented 
part  of  the  measure. 

Polka,  a  lively  Bohemian  or  Polish  dance  in 
2-4  time,  the  first  three  quavers  in  each  bar 
being  accented,  and  the  fourth  quaver  unac- 
cented. 

Polonaise  (pol-o-niiz).  A  movement  of  three 
crotchets  in  a  measure,  the  rhythmical  pause 
coming  on  the  last  crotchet  of  the  bar. 

PolypllOliy.  "  many  sounds."  Applied  to  com- 
positions consisting  of  three  or  more  inde- 
pendently moving  voices,  as  in  "fugue,  etc. 
Distinguished  from  Hoinopl^ony ^  in  which 
there  is  but  one  melodious  voice,  the  others 
being  accompaniment,  as  in  glees  and  Ameri- 
can psalmody.     See  Chapter  V. 

Poiliposo  (Ital.  pom-p5  -z6).  Pompous,  state- 
ly, grand. 

PoiliatOWSki,  Joseph,  Prince,  and  kinsman 
of  Stanilaus  II,  last  king  of  Poland,  was  bom 
at  Rome,  1816.  He  was  educated  in  music, 
and  produced  seven  or  eight  operas. 

PoiltO,  Lorenzo  da,  a  famous  writer  of  opera 
librettos,  among  them  Mozart's  "  Figaro"  and 
"■  Don  Juan."     Born  1749.     Died  1838. 

Poi»l»er,  David,  a  distinguished  'cellist,  born 
1842.     Lived  since  1868  in  Vienna. 

Porpora,  Nicolo  (por  -po-ra),  the  distin- 
guished opera  composer  and  lival  of  Handel, 
was  born  at  Naples  in  1686,  educated  there, 
appeared  as  composer  in  1708,  and  after 
several  years'  wandering  between  Vienna, 
London,  etc.,  in  1760  he  returned  to  Naples, 
where  he  lived  at  the  head  of  the  Conserva- 
tory of  San  Onofrio.  Died  1767.  Wrote 
more  than  50  operas,  6  oratorios,  4  masses,  29 
other  sacred  works,  6  symphonies  for  cham- 
ber, etc. 

Portamento  (Ital.  por-ta-man  -to).  A  term 
applied  by  the  Italians  to  the  manner  or 
habit  of  sustaining  and  conducting  the  voice. 
A  singer  who  is  easy,  and  yet  firm  and  steady 
in  the  execution  of  passages  and  phrases,  is 
said  to  have  a  good  portamento.  It  is  also 
used  to  connect  two  notes  separated  by  an  in- 
terval, by  gliding  the  voice  from  one  to  the 
other,  and  by  this  means  anticipating  the  lat- 
ter ui  regard  to  intonation. 

Portando  la  voce  (Ital.  por-tiin-do  la  v6'- 
tshe).  Carrying  the  voice,  holdiiig  it  firmly 
on  the  notes. 

Posaillie  (Ger.  p6-zoii-ne).  A  trumpet,  a 
trombone,  a  sackbut,  also  an  organ  stop. 

Potpourri  (pot-poor  -re^.  A  medley,  a  capric- 
cio  ox  fantasia,  in  which  favorite  airs  and 
fragments  of  musical  pieces  are  strung  to- 
gether and  contrasted. 

Position,  a  shift  on  the  violin,  tenor,  or  violon- 
cello: the  arrangement  or  order  of  the  several 
members  of  a  chord. 

Po.sitive,  an  appellation  formerly  given  to  the 
little  organ,  placed  in  front  of  the  full  or 
great  organ. 

Possibile  (Ital.  p6s-se'-be-le),  possible;  il 
piii_forte possibitcy  as  loud  as  possible. 

Postludiuni  (Ital.  post-lu -dl-um).  After- 
piece, concluding  voluntary. 


Potter,  Cypriani,  pianist  and  composer.  Born 
19  London,  1792,  where  his  father  was  a  pro- 
fessor of  music.  Studied  with  Calcott,  Crotch, 
and  Woelfl.  Was  made  professor  in  the 
Royal  School  of  Music,  and  in  1825  president 
of  the  same.  Died  1872.  Wrote  trios,  duos, 
sonatas,  and  piano  pieces. 

Pral  trill,  thetjcrman  name  for  the  mordente, 
an  embellishment  consisting  of  two  small 
notes  preceding  a  principal  one.  See  appen- 
di.x. 

Pratt,  Silas  G.,  pianist  and  composer,  was  born 
Aug.  12,  1847.  Studied  at  first  in  Chicago, 
afterwards  with  Wiierst  and  Kullak,  at 
Berlin,  and  still  later  with  Liszt,  at  Weimar. 
Has  written  two  operas,  a  symphony,  many 
piano  pieces,  etc. 

Precentor,  the  appellation  given  formerly  to 
the  master  of  the  choir. 

Prelude,  a  short,  introductory  composition,  or 
e.xtempore  performance,  to  prepare  the  ear 
for  the  succeeding  movements. 

Preeipitando  (Ital.  prii- tshe-pe- tan-do). 

Hurrying. 

PreeipitatO  (Ital.  prii-tshe-pe-ta'-to).  In  a 
precipitate  manner,  hurriedly. 

Precisione  (Ital.  pra-tshe-ze-o-ne).  Pre- 
cision, exactness. 

Preg-hiera  (Ital.  pra-ghe-a'-ra).  Prayer, 
supplication. 

Preparation,  that  disposition  of  the  harmony 
by  which  discords  arc  lawfully  introduced. 
A  discord  is  said  to  be  prepared  when  the  dis- 
cordant note  is  heard  in  the  preceding  chord, 
and  in  the  same  part,  as  a  consonance. 

Prestainente  (Ital.  pres-ta-man-te).  Hur- 
riedly, rapidly. 

Prestezza  (Ital.  pres-tad-sii).  Quickness,  ra- 
pidity. 

Presto  (Ital.  pras'-t5).     Quickly,  rapidly. 

Pressure  tone,  a  sudden  crescendo. 

Prima  (Ital,  pre  -ma>.     First,  chief,  principal. 

Prima    Vista    (Ital.    pre -ma  ve'-sta).    At 

first  sight. 

Prima  Volta  (Ital.  prP-ma  vGl-ta).  The 
first  time. 

Principal,  the  chief  idea  in  .a  piece  of  music. 
See  Chapter  XIII. 

Principal,  an  organ  stop  of  diapason  tone.  In 
English  organs  the  principal  is  the  "octave," 
a  4ft.  stop.  In  German  it  is  the  open  diapa- 
son of  8ft.  or  i6ft. 

Programme,  an  order  of  exercises  for  musical 
or  other  entertainments. 

Programme  Music,  music  designed  to  tell 
in  tones  a  story  derived  from  some  poem,  or 
legend.     See  Chap.  XXI. 

Progression,  movement  from  one  tone  or 
chord  to  rnother. 

Prosody,  a  term,  partly  grammatical  and 
partly  musical,  relating  to  the  accent  and 
metrical  quantity  of  syllables,  in  lyrical  com- 
position. 

Prologue,  llusical,  the  preface  or  intro- 
duction to  a  musical  composition  or  peifor- 
inar.ce  ;  a  prelude. 

Professor  of  JIusic,  the  instructor  or  lec- 
turer on  mu^ic  in  a  chartered  college  or  school 
An  accomplished  musician  (English  usage). 


a  ali\  a  aid,  a  arm.  e  iTv,  e  en-.l,  I  ice,  \  ill,  o  old.,  d  odd,  6  doz'e,  oj  moon,  fl  lute,  \l  but,  u  Fr.  s<^und. 


57 


PRU 


DICTIONARY. 


RAI 


PrucUner.  Dionys,  a  brilliant  pianist^  and  a 
good  teacher.  Born  about  1S30.  Studied 
with  Liszt  at  Weimar,  at  the  same  time  with 
Billow,  Mason,  Klindworth,  R.-iff,  etc.  Came 
to  New  York  in  1S74,  but  made  only  a  short 
stay.  I;  now  professor  of  Piano  in  the  Con- 
servatory at  Stuttgart  (1880). 

Pritckner,  Caroline,  a  distinguished  German 
dramatic  singer.     Born  at  Vienna  in  1832. 

Prildeilt.  Emil  (pru-danh),  a  brilliant  pianist 
and  composer  oi  elegant  fantasias  and  salon 
pieces,  was  born  at  Angouleme,  1817.  Stud- 
ied at  the  Conservatoire,  and  was  much  in- 
fluenced by  Thalberg.     Died  at  Paris,  1863. 

Priime.  Francois,  one  of  the  most  brilliant 
violinists  of  recent  times,  was  born  at  Stavelot 
in  1816,  appeared  in  public  as  violinist  at  an 
early  age.     Died  1849. 

Pimilie,  Jehin.  nephew  of  the  preceding,  was 
also  a  fine  violinist,  and  visited  America  in 
i860.     Born  at  Brussels,  1840. 

Psalm,  a  sacred  song  or  hymn. 

Psalmody,  the  practice  or  art  of  singing 
psalms  ;  a  style  or  collection  of  music  de- 
signed for  church  service. 

Psalter,  the  book  of  Psalms. 

Purcell,  Henry,  an  English  dramatic  and 
church  composer,  was  born  in  London,  1658, 
the  son  of  a  musician.  His  talent  was  such, 
that  at  the  age  of  18  he  was  organist  of  West- 
minster Abbey  and  the  Royal  Chapel.  He 
composed  music  to  many  plays.  Purcell  had 
positive  genius,  and  showed  fresh  and  vigorous 
melodic  invention.  He  had  not  the  severe 
contrapuntal  training  of  Bach  or  Handel,  liis 
contemporaries.  Died  at  the  age  of  37  in 
1695. 

Quadrat  (Ger.  quad-rat).  The  mark  called  a 
natural.     Sec  Chromatic  Signs  in  Appendix. 

QaadrlUe  (Fr.  ka-drel).  A  French  dance, 
or  set  of  five  consecutive  dance  movements, 
called  La  Pantalon,  La  Poule,  L'  Ete,  La 
Tenise  (^or  La  Pastourelle)  and  La  Finale. 

i^Uantz.  Johann  Joachin,  1697-1773.  A  dis- 
tinguished musician  in  the  employ  of  Frede- 
rick the  Great,  of  Prussia,  known  especially 
as  a  flute  virtuoso.  His  instruction  book  for 
that  instrument  marks  an  epoch  in  the  de- 
velopment of  the  flute,  and  of  flute-playing. 
Quantz  was  aUo  an  excellent  violinist  and 
oboist,  was  thoroughly  acquainted  with  all 
the  orchestral  instruments  in  use  in  his  time, 
and  with  the  art  and  science  of  music.  He 
left  a  large  number  of  compositions,  especially 
for  the  flute. 

Quart  (Fr.)     A  fourth. 

Quarter-note,  a  black  note,  otherwise  known 
as  crotchet. 

Quarter  Rest,  a  rest  equal  to  a  quarter  note. 

Quarter-tone,  a  small  interval  of  no  precise 
dimension,  because  the  "whole  tone"  itself 
varies. 

Quasi  'Ital.  qua  se).     As  if,  like. 

Quartette  (Ger.  quar-tett  ).  A  composition 
for  four  voices  or  instruments. 

Quart-Sex  (Lat.)     Fourth-sixth  chord. 

Quart  -  Septime  (Lat.)  Fourth-seventh 
chord. 

Quatuor  (Lat.)     A  composition  for  four  voices. 

Quaver,  an  eighth  note. 


Querfloete    (Ger.    kwnr   flo-te).     A  German 

llute. 

Querstand  (Ger.  kwar-stand).  A  false  rela- 
tion in  harmony. 

Quieto  (Ital.   kwe-a-to).     Quietly,  calm,   se- 
rene. 
Questa  (Ital.  quas-ta).     This,  that. 

Quiok-Step,    a  lively  march,  generally  in  2-4 

time. 
Quintadena   (kwin--ta-de'-na).      An    organ 

step   of  soft,  flute-like   quality,  which    gives^ 

the  twelfth  quite  plainly. 

Quintaton  (Ger.  quTn-ta-tOn).  A  manual 
organ  stop  of  8ft.  tone  and  stopped  diapa-on 
quality,  producing  the  12th  perceptibly.  Also 
a  pedal  stop. 

Quinten-folge  (Ger.)     Successions  of  fifths. 

Quintette,  a  composition  for  five  voices. 

Quintole,  a  group  of  five  notes. 

Quint  Oedaokt  (Ger.  quint  ghe-diihkt).  An 
organ  stop  of  the  stopped  diapason  species, 
sounding  the  fifth  above. 

Qui  Tollis  (Lat.)  "  Thou  who  takest 
away,''  part  of  the  Gloria  in  Excelsis,  usually 
set  in  music  as  a  separate  number. 

Qnoniam  tu  Solus  (Lat.)  ''For  thou 
alone  art  holy,"  part  of  the  Gloria,  usually 
set  as  a  separate  number. 

K.,  right  (hand). 

Baekett,  an  old  wooden  wind-instrument, 
lower  and  deeper  than  the  bassoon. 

Raddoppianiento  (rad-dop-pe-a-man-to). 

Augmentation,  reduplication  ;    the  doubling 
of  an  interval. 

Radecke,  Robert,  a  pianist,  violinist  and 
conductor,  born  at  IJittmannsdorf  in  1830. 
Studied  with  his  father  at  Leipsic,  where  he 
distinguished  himself,  and  in  1852  was  made 
second  director  of  the  Leipsic  Sing-Acade- 
mie.  Resides  at  Berlin.  Has  composed  many 
songs,  overtures  for  full  orchestra,  etc.,  and 
in  many  ways  shown  himself  one  of  the  first 
musicians  of  the  present  time. 

Radieal  Bass,  a  bass  exclusively  composed 

of  the  roots  of  the  chords. 

Baff*,  Joachim  (yo -iik-em  raf),  one  of  the 
greatest  composers  now  living,  was  born  May 
12,  1822,  at  Lachen  in  Switzerland.  His  first 
opera,  "  King  Alfred,'' was  composed  in  1849. 
From  this  time  on  Raff  has  produced  a  long 
succession  of  works,  all  well  written,  although 
sometimes  too  carelessly,  which  have  at 
length  acquired  currency  throughout  the 
world.  They  consist  of  8  symphonies,  2 
suites,  5  overtures,  several  concertos,  very 
much  chamber  music,  songs,  piano  piecefe, 
etc.,  in  all  over  200  works.  At  present  (1880) 
Raff  is  director  of  the  Consers'atory  at  Frank- 
fort-on-the-Maine. 

Ballentando  (Ital.  ral-len-tan -do).  The 
time  gradually  slower  and  the  sound  gradual- 
ly softer. 

Bainiondi,  Pietro,  a  highly  esteenied  com- 
po>er  and  teacher  of  counterpoint  in  Rome, 
1786-1853.  Wrote  more  than  60  operas,  p2 
ballets,  150  psilms  of  the  style  of  Marcello  s, 
and  very  many  other  church  pieces. 


a  aU^  a  add^  a  arin^  e  eve^  e  end^  1  ice,  i  illy  o  old^ 


6  odd,  6  dove,  uo  moon,  u  lute,  u  but,  U  hr.  sound 
58 


RAM 


DICTIONARY. 


RET 


JRameau,  Jean  Philippe  (ra-mo  ),  a  celebrated 
French  composer  and  theorist,  was  born  1683 
in  Dijon.  Educated  at  a  Jesuit  college.  Ap- 
peared as  writer  of  theoretical  works  in  1722, 
and  ten  years  later  as  an  opera  composer. 
Died  1764. 

Rail!i«  des  Vafhes  (Fr.  riinh  dfi  viish).  Pas- 
toral airs  played  by  ihe  Swiss  herdsmen  to 
assemble  the  cattle  together  for  the  return 
home. 

ICapidaniente    (Ital.   ra-pe- da    man-te). 

Rapidly. 

Rapido  (Ital.  ra  -pe-do).     Rapid. 

Kappoidi,  E.  (rap-pol'-de),-  one  of  the  best 
violinists  of  the  present,  was  born  in  Vianria, 
Feb.  22,  1839.  Is  concertmeister  of  the  Royal 
Opera  at  Berlin. 

Rathberger,  Valentine,  a  prolific  old  church 
composer,  a  Benedictine  monk,  born  1690. 

Ratio,  relation.  The  relation  of  the  rate  of 
vibrations  in  tones. 

RauZKini,  Venanzio  (roiid-ze -nij),  an  Italian 
singer  and  composer  of  operas,  born  at  Rome 
1747-1810. 

Ravenseroft,  Thomas,  professor  of  music  at 
0.\ford,  and  one  of  the  earliest  English  com- 
posers of  psalmody,  was  born  1590.  Died  i635_ 

Ravilia,  Jean  Henri  (ra-ve-na),  pianist  and 
composer,  was  born  at  Bordeaux,  May  20, 
iSiS.  Studied  in  the  Conservatoire,  and  dis- 
tinguished himself  as  a  composer  of  salon 
pieces.     Died  1862. 

Re  (Ital.  ra).  The  second  syllable  in  solmiza- 
tion.     In  French,  the  pitch  D. 

Rebec  A  Moorish  word  signifying  an  instru- 
ment with  two  strings,  played  on  with  a  bow. 
The  Moors  brought  the  Rebec  into  Spain, 
whence  it  passed  into  Italy,  and  after  the  ad- 
dition of  a  third  string  obtained  the  name  of 
Rebecca,  whence  the  old  English  Rebec,  or 
fiddle  with  three  strings. 

Rebel,  Franyois,  a  French  opera  composer, 
1701-1775. 

Reolierche  (Fr.  re-sher-sha  ).  Rare,  affected, 

formal. 

Reolite  Hande  (Ger.  rShkte  hand).    Right 

hand. 

Recitative  trec-I-ta-teev').  A  musical  decla- 
mation.    See  Chapter  XXXVI 1 1. 

Redei*n,  Count  von  Fr.  Wilhelm,  Prussian 
general  intendant  of  the  opera,  and  composer 
of  occasional  pieces,  was  born  1802  in  Berlin. 

Redlieireil,  to  reduce,  or  arrange  a  full  instru- 
mental score  for  a  smaller  band,  or  for  the 
piano-forte  or  organ. 

Reed,  a  contrivance  for  procuring  vibrations. 
TheyVc^  rf^^/ consists  of  a  socket  and  a  thin 
vibrating  slip  of  brass  fastened  to  it  at  one 
end,  the  other  end  swinging  completely 
through  the  opening  in  the  socket  at  each 
vibratijn.  Used  in  accordeons,  concertinas, 
reed  organs,  harmoniums,  and  "free  reed" 
stops  in  the  organ,  fiiipingivg  or  striking' 
reeds,  consist  of  a  steel  socket  with  a  tri 
angular  opening,  and  a  vibrating  brass  tongue, 
which  strikes  against  the  socket  in  vibrating, 
and  does  not  pass  through,   thus  allernaielv 


opening  and  closing  the  pipe.  Used  in  reed 
stops  of  the  organ  generally.  The  reed  0/ 
oboe  and  bassoon  consists  of  two  thin  slips  of 
reed  (woody  fibre),  closely  approximated, 
which  alternately  close  and  open  when  blown 
through.  The  clarinet  reed  consists  of  a 
slip,  or  tongue  of  reed  vibrating  against  the 
wooden  socket,  and  is,  therefore,  an  imping- 
ing reed.  The  harmonics  of  a  reed  are  simi- 
lar to  those  of  a  string,  hence  reed  instruments 
take  the  place  of  strings  in  military  bands. 

Reed,  Daniel,  one  of  the  old  American  psalmo- 
dists,  published  his  first  book,  "The  Colum- 
bian Harmony,"  in  1793.  Tlie  music  was 
illiterate. 

Reeve,  William,  a  suc:essfvd  English  composer 
of  musical  dramatic  pieces,  and  teacher  of 
music,  lived  in  London.  Born  1757.  Com- 
posed sixteen  comic  operas. 

Reeves,  Sims,  the  great  tenor,  was  born  at 
Woolwich,  1821,  made  his  debut  about  1840, 
after  serious  studies  in  London  and  Italy, 
and  has  since  held  highest  rank  among  opera- 
tic and  oratorio  tenors.  His  son  has  in  i88o 
made  a  promising  debut  as  tenor. 

ReoreatiOll,  a  composition  of  attractive  style, 
designed  to  relieve  tlie  tediousness  of  practice  ; 
an  amusement. 

Redowa  (ri^d  -o-wal.  A  Bohemian  dance  in 
2-4  and  3-4  time,  alternately.. 

Refrain,  the  burden  of  a  song,  a  ritornel  ;  a 
repeat.     See  Burden. 

Regel  (Ger.  rag  -SI).     A  rule. 

Register,  an  organ  stop. 

Registration,  the  art  of  changing  and  com- 
bining stops  so  as  to  produce  a  musical  effect 
in  organ  playing. 

Regnard.  Francis,  Jacob,  Paschalius  and 
Carolo,  four  brothers,  of  Douay,in  Flanders. 
They  lived  in  the  i6th  century.  Jacob  and 
Francis  left  many  compositions,  especially 
the  former,  who  was  kapellmeister  at  Prague. 

Rehearsal  (re-hgr  -sal).  A  trial,  or  practice, 
previous  to  a  public  performance. 

Reielia,  Joseph,  I746-1795,  A  distinguished 
violinist  and  composer  of  Prague.  He  left 
many  compositions. 

Reieha,  Anton,  1770-1836,  nephew  of  Joseph. 
A  distinguished  composer  and  theorist,  alsO' 
born  in  Prague.  He  li\  ed  for  some  years  in 
Vienna,  in  the  society  of  Haydn,  Albrechts- 
berger,  Salieri  and  Beethoven.  The"  last 
twenty-eight  years  of  his  life  he  spent  in 
Paris,  where  he  was  professor  of  counterpoint 
at  the  Conservatory.  He  wrote  symphonies 
and  overtures,  and  a  great  deal  of  chamber 
music.  His  first  important  publication  deal- 
ing with  the  theory  of  music  consisted  in  "  36 
fugues  for  the  piano-forte,  written  on  a  new 
system."  This  new  system  consisted  in  an- 
swering the  theme  on  every  degree  of  the 
scale,  instead  of  on  the  dominant.  But  as 
this  principle  is  destructive  of  tonality,  it 
failed  to  attain  favor  among  musicians.  He 
published  works  on  melody,  on  harmony,  and 
on  composition,  which  were  much  used  both 
in  France  and  in  dermany.  He  failed  in  his 
attempts  at  dramatic  composition,  but  suc- 
ceeded as  an  instrumental  composer,  and  was 
universally  respected  as  a  learned  and  able 
musician,  and  a  skillful  teacher. 


a,  ale,  a  add,  a  arm,  e  eve,  e  end,  i  ice,  \  ill,  0  old,  o  odd,  o  dove,  00  tnoon,  Q  lule,  U  bul,  u  Fr.  sound 

59 


REI 


DICTIONARY. 


REL 


Seicliardt,  Johann  Friedrich,  1752-1814. 
Kapellmeister  in  Berlin,  and  a  prolific  com- 
poser of  operas  and  instrumental  music,  as 
well  as  a  critic.  In  the  latter  field  he  lacked 
breadth  of  view  and  depth  of  insight,  and 
here,  as  in  his  compositions,  he  failed  to  pro- 
duce anything  of  lasting  value.  But  he  was 
of  importance  in  the  development  of  the  Ger- 
man song,  for  he  introduced  a  more  energetic 
declamation,  and  hit  upon  a  truer  musical 
expression  for  some  of  Goethe's  songs  than 
had  been  found  before.  He  is  also  the  father 
of  the  German  Liederspiel  (Vaudeville),  a 
play  with  popular  songs  introduced. 

Rein  (Ger.  rin).  Pure,  clear,  perfect  ;  kurz 
unci  reiuy  distinct  and  clear. 

Rlieiiibers'e*'.  Joseph  (rln-bar-gSr)oneofthe 
most  talented  composers  of  the  present  time, 
was  born  in  Vaduz,  1S39.  Showed  great  tal- 
ent for  music,  and  was  organist  in  church  at 
the  age  of  seven.  He  was  educated  at  Mh- 
nich,  and  resides  there  as  teacher  and  con- 
ductor. Has  written  several  operas,  oratorios, 
organ  pieces,  piano  works  and  chamber  music. 

Keilieeke,  Karl  (ri'-neck-e),  composer,  con- 
ductor, and  piano  virtuoso,  was  born  June  23. 
1824,  in  Altona.  He  was  taught  by  his 
father,  an  excellent  musician.  At  iS  years  of 
age  he  made  a  successful  concert  tour  to 
Copenhagen  and  Stockholm,  engaged  as  con- 
ductor at  Barmen  in  1854.  ^"  '859  he  ac- 
cepted a  more  important  conductorship  at 
Breslau.  Since  1S61  he  has  been  the  conduc- 
tor of  the  world-renowned  Gewandhaus  con- 
certs at  Leipsic.  He  continues  to  be  an  ex- 
cellent concert  pianist,  and  has  made  many 
concert  tours  to  London  and  elsewhere.  He 
is  also  constantly  engaged  in  composition, 
and  has  published  more  than  100  original 
works,  among  them  symphonies,  operas, 
masses,  oratorios  and  overtures,  and  much 
chamber  music. 

Reillken,  Johann  Adam,  a  very  celebrated 
organist,  was  born  at  Deventer,  Province  of 
Ober-yssel,  in  the  Netherlands.  His  educa- 
tion was  mainly  obtained  at  Leipsic  and 
and  Hamburg,  in  the  latter  place  studying 
with  Scheidmann,  whom  he  succeeded  as 
organist  at  the  St.  Catherine  Church.  Bach 
made  two  journeys  to.Hamburg  to  hear  him, 
the  last  time  playing  several  hours  for  Rein- 
ken,  who  declared  that  the  art  of  organ- 
playing,  well-nigh  extinct,  had  found  a  new 
exponent.  He  died  at  the  advanced  age  of 
99  years  and  7  months,  Nov.  24,  1722.  He 
published  but  one  work,  entitled  "  Sonatro, 
concertanten,  allemanden,  couranten,  sara- 
banden  and  chiquen  for  two  violins  and 
cembals.'' 

Keintlialcr,  Carl  Martin  (rin'-ta-ler),  a  Ger- 
man musician  of  some  note  as  teacher  of 
voice  and  director  of  various  musical  societies 
in  Bremen,  and  also  a  school  of  vocal  music, 
was  born  at  Erfurt,  Oct.  13,  1822.  He  is  the 
author  of  an  oratorio  of  note,  "  Gebtha." 

Keissiger,  Carl  Gotlieb.  a  German  musician 
of  versatile  talent  as  singer,  pianist,  and  com- 
poser, was  born  Jan.  31,  1798,  at  Belzig. 
Became  a  pensioner  in  the  Thomas  school  in 
Leipsic,  where  he  studied  composition  and 
piano.  Later  by  the  kindness  of  friends  he 
received  money  to  pursue  his  studies  in  Berlin, 
and  Jatei  in  Munich  with  Winter  ;  after  travel- 
ing   through   Italy,   France   and    Holland  he 


returned  to  Berlin  and  took  a  position  as 
teacher  in  a  church  music  institute.  He  was 
called  in  1826  to  Dresden  to  take  the  place  of 
director  of  German  opera,  vacated  by  Mar- 
schner,  and  gave  such  evidence  of  his  supe- 
rior ability  as  a  director  that  the  King  of 
Saxony  appointed  him  as  successor  to  the 
deceased  von  Weber.  His  compositions  in- 
clude operas,  church  music,  masses,  motettes, 
orchestral  works,  symphonies,  and  overtures, 
aud  .also  St  ring  and  string  and  piano  quintettes, 
quartettes,  trio  and  duos,  besides  piano  works, 
and  songs.  His  songs,  and  especially  piano 
and  string  trios  were  at  one  time  very  popu- 
lar, but  are  almost  unknown  at  the  present 
time.  D.  1859. 
KeissiseJ",  F.  A.,  a  brother  of  the  above 
Born  July  26,  i8og.  As  composer,  director 
and  teacher  he  attained  to  some  eminence  in 
Norway,  his  adopted  home. 

Reissman.  Dr.  Phil.  August,  was  born  at 
Frankenstein,  Nov.  14,  1825,  where  he  also 
received  his  first  musical  instruction.  In 
1843  h^  went  to  Breslau,  where  he  studied 
theory,  composition,  organ,  piano,  violin  and 
'cello,  thus  becoming  practically  acquainted 
with  music  in  many  departments.  During  a 
a  stay  at  Weimar  he  decided  to  follow  litera- 
ture, and  to  his  literary  works  is  due  the 
greater  part  of  his  reputation.  The  follow- 
ing are  his  principal  literary  works,  "  From 
Bach  to  Wagner,"  "  History  of  the  German 
Song,''  "  General  History  of  Music,"  three 
books,  "General  Musical  Instructor," 
"  Manual  of  Composition,"  biographies  of 
Schumann,  Mendelssohn,  and  Schubert. 
The  University  of  Leipsic  conferred  upon 
him  the  degree  of  Doctor  of  Philosophy  in 
1875.  He  resides  in  Berlin,  and  lectures  on 
the  history  of  music  in  the  Conservatory. 

Religiosamente  (Ital.  re-le-je-5-z:i-man'- 
tej.  Religiously,  solemnly,  in  a  devout  man- 
ner. 

RellHtab,  John  Carl  Frederick,  was  born  Feb. 
27,  1759,  at  Berlin.  Died  Aug.  13,  1813.  He 
was  the  son  ofia  printer,  and  made  some  im- 
provements in  that  art.  He  organized  in  Ber- 
lin the  first  musical  circulating  library,  and 
also  was  the  fir^t  to  write  musical  critiques  for 
the  public  press.  He  did  much  for  music  in 
Berlin,  by  the  introduction  of  artists  in  con- 
certs. Among  his  literary  works  may  be 
mentioned  "  An  Examination  into  the  Rela- 
tion of  Musical  and  Oratorical  Declamation,'' 
and  "  An  Introduction,  for  Piano-Players,  to 
Bach's  Method  of  Fingering,  and  his  Embel- 
lishments and  Manner  of  Execution." 

Rellstab,  Caroline,  a  daughter  of  the  above, 
botn  April  18,  1794,  at  Berlin,  died  Feb.  17, 
1814.  She  was  rightly  called  one  of  the  great- 
est singers  of  her  time,  possessing  an  organ  of 
remarkable  beauty  and  compass,  from  Pi.b  to  F, 
coupled  with  great  dramatic  talent. 

Rellstab,  Henry  Frederic  Louis,  a  son  of  J. 
C,  born  April  13,  1799,  died  Nov.  28,  i860. 
A  musical  critic  and  writer  of  note.  The 
following  are  among  his  works."  A  witty 
book  entitled  'Henriette"  (Sontag),  "or 
The  Beautiful  Singer  :  a  History  of  our  Day, 
by  Freimund  Zusehauer ;"  "Franz  Li.szt," 
"  Ludwig  Berger,"  biographies,  and  "The 
Condition  of  the  Opera  since  Mozart's  time." 

Related,  having  much  in  common.  Related 
scales,  those  differing  in  but  one  tone. 


a,  a/i?,  u  add^  ;i  arttz^  e  eve^  e.  end,  \  ire,  I  ///,  5  old,  6  odd,  6  dove,  00  moon,  u  lute,  K\  but,  u  Pr.  sound 

60 


REL 


DICTIONARY. 


RIG 


Ilolution.  False,  that  connection  which  any 
two  sounds  have  with  one  another  when  the 
interval  wliich  they  form  is  either  superfluous 
or  diminished. 

KeliKiOSO  (Ital.  re-16-je-o'-z6).  Religiously, 
solemnly  ;  in  a  devout  manner. 

JCrilliiiiKConce,  reminiscence. 

KcilK'iiyi,  Eduard  (re-man -ye),  a  great  violin 
virtuoso,  born  1830,  in  Hewcs,  Hungary. 
From  1842-1845,  studied  in  the  Vienna  Conser- 
vatory. At  thebreakingout  of  the  Hungarian 
revolution  he  entered  the  army  as  an  adju- 
tant, and  at  its  close  came  to  America  as  an 
exile,  and  concerted  through  the  country. 
In  1853  he  went  to  Liszt  at  Weimar  ;  1854  was 
appointed  solo  violinist  to  the  queen  of  En<;- 
l<\nd,  and  later  went  back  to  his  native  land. 
Since  early  in  1879  he  has  been  concerting; 
in  this  country.  His  playing  is  characterized 
by  great  fire  and  dash. 

Kemote,  far  away.  Remote  keys  are  those 
having  few  tones  in  common,  as  C  and  F 
sharp,  or  F  and  C  sharp. 

Repeat,  a  character  indicating  that  certain 
measures  or  passages  are  to  be  sung  or  played 
twice. 

RepercnSSiO  (Lat.rep-er-kiis'-sl-o).  Reper- 
cussion ;  the  answer  in  a  fugue. 

Repliea  (Ital.  ra'-ple-ka).  Reply,  repetition. 
See,  also,  Rcpercitssio. 

Reprise  ( Fr.  ril-prez).  The  burden  of  a  song  ; 
a  repetition,  or  return,  to  some  previous  part  ; 
in  old  music,  when  a  strain  was  repeated,  it 
it  was  called  a,  reprise. 

Requiem  (Lat.  ra-qui-em).  A  Mass,  or 
musical  service  for  the  dead. 

Resolution,  the  subsidence  of  a  dissonance 
into  the  consonant  tone  it  temporarily  dis- 
placed. 

Resonance,  the  reverberation  or  echo  of 
sound. 

Response,  response  or  answer  of  the  choir. 

Rest,  a  mark  signifying  silence.  Rests  are  of 
different  forms,  corresponding  to  note-lengths. 

Retard,  gradually,  more  slowly. 

Retro  (Lat.  ra-trd).  Backward,  the  melody 
reversed,  note  for  note. 

Renter,  George  (roi'-ter),  a  celebrated  organ- 
ist and  composer  of  church  and  organ  music. 
Born  at  Vienna,  1660.  Kcirl  (called  the 
younger),  son  of  the  above,  born  in  Vienna, 
1697,  was  also  a  noted'organist.  Died  in  1770. 
Rojnanns^  a  Benedictine  monk,  born  at  Kall- 
miiz,  near  Regensburg,  1755,  and  died  1806. 
A  composer  of  note  among  his  brotherhood  in 
his  time. 

Reyer,  Louis  Etienne  Ernst  (rl'-er),  a  French 
opera  composer,  born  at  Marseilles,  Dec.  i, 

1S23. 

Revoice,  to  restore  the  voice  of  a  reed  or 
organ  pipe  by  removing  the  dust,  and  other- 
wise correcting  the  impairment  of  use. 

RliapSOCly  (Eng.  rap'-so-dy).  A  capriccio,  a 
fragmentary  piece  ;  a  wild, unconnected  com- 
position. 

Rliytlini  (Eng.  rlthm).  The  division  of  musi- 
cal ideas  or  sentences  into  regular  metrical 
portions  ;  musical  accent  and  cadence  as  ap- 
plied to  melody. 


Rhythmic  (rith-mlk;.     Rhythmical. 
irhythmus,  a  rhythm. 

Kihattiita  (Ital.  re-biit-too-taj.  A  beat,  a 
passing  note. 

Ricci,  Frederico  (rt'-tshe),  a  dramatic  composer 
born  at  Naples,  1809,  and  also  a  teacher  of 
singing. 

Rieei,  Luigi,  brother  of  the  above,  born  at 
Naples,  1808,  died  Jan.  i,  i860.  An  opera 
composer  of  note. 

Richardson,  Nathan,  a  native  of  Gloucester, 
Mass.,  born  about  1830.  Studied  music  for 
several  years  with  Dreyschock  at  Prague, 
and  on  his  return  to  America  in  1852,  pub- 
lished his  "  Modern  School  for  the  Piano- 
forte," which  was  little  else  than  a  transcript 
of  liis  lessons  with  Drey:xhock.  He  estab- 
lished the  firm  of  Russell  &  Richardson  in 
Boston,  and  afterwards  wrote  R.'s  "New 
Method  for  the  Piano-forte,''  which  has  sold 
over  500,000  copies.     Died  1858. 

Richter,  Ernst  Friedrich  Eduard  (rlkh-ter), 
German  composer  and  writer  on  theory,  born 
Oct.  24,  1808,  at  Gross-Schonau.  Received 
his  education  at  Zittau  and  Leipsic.  At  the 
founding  of  the  Leipsic  Conservatory  he  was 
appointed  teacher  of  harmony  and  composi- 
tion. At  the  death,  of  Hauptmann  he  was 
appointed  cantor  of  the  Thomas-Schule. 
As  as  composer  he  is  known  best  by  his 
church  compositions,  but  his  works  on  har- 
mony, counterpoint  and  fugue,  are  what  give 
him  rank  among  musicians.    He  died  in  1878. 

Richter,  Hans,  one  of  the  most  distinguished 
orchestral  conductors  of  the  present  time. 
Born  about  J833. 

Ries,  Ferdinand,  piano  virtuoso  and  composer, 
was  born  at  Bonn,  Nov.  28,  1784,  and  died 
Jan.  13,  1838.  R.  was  the  favorite  pupil  of 
Beethoven  for  four  years,  and  to  his  and  Dr. 
F.  G.  Wegler's  "  Biographical  Notes  of  Bee- 
thoven," we  owe,  in  a  large  measure,  our 
knowledge  of  Beethoven  as  man  and  artist. 
He  was  quite  a  prolific  writer,  but  his  works 
have  in  the  main  sunk  into  oblivion. 

Riedel,  Carl  (re'-del),  bom  Oct.  6,  1827,  at 
Kronensberg.  He  was  the  founder  and  direc- 
tor of  the  now  famous  Reidelsche-verein,  a 
choral  society  which  has  done  much  for  the' 
advancement  of  music  in  Germany,  but  es- 
pecially in  Leipsic,  by  bringing  out  the  works 
of  ancient  and  modern  composers.  He  has 
made  no  great  reputation  as  a  composer,  al- 
though many  of  his  works  have  merit. 

RietK,  Eduard  (reetz\  a  noted  German  violinist 
and  director,  born  in  i8oi  at  Berlin,  died  1832. 

Rietz.  Julius,  brother  of  the  above,  born  in 
Berlin,  Dec.  28,  1812.  A  composer,  director 
and  teacher.  Was  director,  in  1S3S,  of  the 
Gewandhaus  Orchestia  in  Leipsic,  where  he 
also  taught  composition  in  the  Conservatorv. 
R.  is  the  editor  of  many  standard  works  in 
the  Breitkopf  &  Hiirtel  editions.  Died  Oct. 
I,  1877. 

Rig^hini.  Vincenzo  (rig-ee'-ne),  an  Italian  opera, 
composer  and  director  of  great  note  in  his 
time,  was  born  at  Bologna,  Jan.  22,  I7.';6. 
Although  his  operas  were  very  popular  at  the 
time,  they  are  never  heard,  and  aside  from  an 
overture  to  "Tigranes,"  of  great  nobility,  but 
few,  if  any,  are  heard  at  the  present  time. 
Died  Aug.  19,  1812. 


a  ale,  a.  add,  a  arm,  e  eve,  e  end,  1  ice,  I  ///,  6  old,  6  odd,  6  dove,  00  iitjon,  u  lute,  u  but.  u  Fr.  sound. 

6:  .  ■ 


RIM 


DICTIONARY. 


ROS 


Rimhaillt,  Dr.  Edward,  a  learned  English 
writer  about  music,  born  at  London  June  13, 
1816.  Is  author  of  many  collections  of  music, 
a  history  of  the  organ,  etc.     D.  1876. 

RinfOl'zando  (Ital.  ren -for- tsan'  -  do). 
Strengthened,  reinforced  ;  a  repeated  rein- 
forcement of  tone  or  expression  ;  indicating 
that  several  notes  are  to  be  played  with 
energy  and  emphasis. 

Rilick,  Christian  Heinrich,  a  distinguished  or- 
ganist and  composer  for  the  organ,  was  born 
at  Elgersburg  in  1770,  was  a  pupil  of  Kittel, 
a  pupil  of  Bach's.  In  1805  he  became  cantor 
Stadtorganist  at  Darmstadt,  where  he  died  in 
1846. 

ICipieilO  dtal.  re-pe-a  -no).  The  tutti^  or  full 
parts  which  fill  up  and  augment  the  effect  of 
the  full  chorus  of  voices  and  instruments.  In 
a  large  orchestr.a  all  the  violins,  violas  and 
basses,  except  the  principals,  are  sometimes 
called  Ripieni. 

Ritardando  (Ital.  re-lar-dan-do).  Retard- 
ing, delaying  the  time  gradually. 

RitenutO  (Ital.  re -te-noo- to).  Detained, 
slower,  kept  back ;  the  effect  different  from 
Ritarddndo^  by  being  done  at  once,  while 
the  other  is  effected  by  degrees. 

Ritornell  (Ital.  re-tor-nal  >.  The  burden  of 
a  song  ;  also,  a  short  symphony  or  introduc- 
tion to  an  air  ;  and  the  symphony  which  fol- 
lows an  air.  It  is  also  applied  to  ttitti  parts, 
introductory  to,  and  between,  or  after,  the 
solo  passages  in  a  concerto. 

Ritter,  A.  G.,  organ  virtuoso  and  royal  music 
director,  was  born  at  Erfurt,  Aug.  11,  181 1. 
Was  pupil  of  Ludwig  Berger,  A.  W.  Bach, 
etc.,  and  in  1847  became  organist  at  the  cathe- 
dral in  Magdeburg.  Is  the  author  of  many 
fine  works  for  organ,  and  an  instruction  book. 

Ritter,  Theo,  a  pianist  and  composer,  born 
about  1838  in  Paris.  He  was  a  pupil  of  Liszt, 
and  is  a  composer  of  merit.  Was  in  this 
country  in  1875,  with  Nillson. 

Ritter,  Freidrich  Louis,  Mus.  Doc,  a  learned 
musician  and  professor  of  music  in  Vassar 
College,  was  born  at  Strassburg  in  183-,  and 
came  to  New  York  about  1864. 

Ritter,  Fanny  Raymond,  a  brilliant  soprano, 
teacher  of  singing,  and  fine  writer  about 
music,  wife  of  the  preceding,  was  born  in 
Philadelphia  about  1840,  and  shares  her  hus- 
band's labors  at  Vassar. 

Ritual,  an  order  of  rites,  hence  the  written 
order  of  public  religious  service. 

Rive-Killg,  M'me  Julia,  the  distinguished 
piano-forte  virtuoso  and  composer,  was  born 
at  Cincinnati,  O.,  in  1853.  Early  showed  a 
talent  for  music,  and  played  Thalberg's 
"  Don  Juan  "  fantasia  in  public  at  the  age  of 
eleven.  Later  she  made  some  studies  with 
Mills  in  New  York,  after  which  she  went  to 
Weimar,  with  Liszt.  Returning  to  this  coun- 
try in  1875,  she  met  everywhere  the  most  dis- 
tinguished success,  and  played  highly  import- 
ant and  artistic  programmes  in  all  parts  of 
the  country.  She  resides  at  present  in  New 
York,  where  she  occupies  a  distinguished 
position. 

RiA'erSO  (Ital.  re-var'-so).  Reverse  motion, 
the  subject  backward,  in  double  counterpoint. 

Roelllitz,  Friedrich  Johann,  a  writer  about 
music,  at  Leipsic,  born  1769,  died  1842.  Au- 
thor of  an  elaborate  collection  of  vocal  music, 
.  etc. 


Rode,  Pierre,  a  favorite  violinist,  born  at  Bor- 
deaux, 1774.  He  lived  chiefly  in  Paris,  and 
was  distinguished  for  the  elegance  and  grace 
of  his  play.     Died  1830. 

Roger.  GustaveHippolyte,  1815.  A  tenorsinger 
of  the  Paris  Opdra  Comique,  distinguished  as 
well  for  his  dramatic  ability  as  for  his  singing. 
After  he  had  passed  his  prime  as  an  opera 
singer  he  became  professor  of  singing  in  the 
Paris  Conservatory.     D.  1879. 

Rolir  (Ger.  r5r).     Reed,  pipe. 

Rohrfloete  (Ger.  r5r  -flo  -te).  Reed-flute,  a 
stopped  diapason  in  an  organ. 

Role  (Fr.  rol).  A  part  or  character  performed 
by  an  actor  in  a  play  or  opera. 

Roilianee"(Fr.)     '&<te.  Romanza. 

Rouiailtie,  strange,  striking.     See  Part  Sixth. 

Roilianza  (Ital.  rG-miin  -tsa).  Formerly  the 
name  given  to  the  long  lyric  tales  sung  by 
the  minstrels,  now  a  term  applied  to  an  irregu- 
lar though  delicate  and  refined  composition. 

Romberg.  Andreas,  Dr.,  1767-1821.  A  dis- 
tinguished violin  virtuoso,  and  a  talented  and 
skilful  composer,  most  of  whose  artistic  life 
was  spent  in  Hamburg.  He  wrote  six  sym- 
phonies, eight  overtures  and  much  chamber 
music.  His  best  known  work  is  his  setting 
of  Schiller's  "  Lay  of  the  Bell." 

Romberg,  Bernhard,  1767-1841.  Cousin  of 
Andreas,  and  associated  with  him  in  his  con- 
cert tours  for  many  years.  He  was  a  distin- 
guished violoncello  viituoso,  and  a  prolific 
composer  for  his  instrument.  He  was  also  an 
accomplished  musician,  and  was  conductor 
four  years  in  Berlin,  and  two  years  professor 
in  the  Paris  Conservatory. 

Roneoili,  Dominico(ron-ko-ne),  1772-1839.  A 
renowned  tenor  singer  with  a  wonderful  voice, 
admirably  trained.  He  was  equally  distin- 
guished as  a  singing  teacher.  He  taught  in 
Milan,  Venice  and  elsewhere  in  Italy,  and 
also  in  Munich,  Vienna  and  Paris,  whither  he 
was  repeatedly  called. 

Ronconi,  Felice,  George  and  Sebastian,  sons 
of  Dominico,  and  all  excellent  singers. 
George  was  the  best  of  the  three. 

Rondo,  a  round.     See  Chap.  XIV. 

Roildino  (Ital.  ron-de  -no),  a  little  rondo. 

Roiidoletto  (Ital.  ron-do-lat -to).    A  short 

and  easy  rondo. 

Root  of  a  €"hord.  The  greatest  common 
measure  of  the  system  of  vibrations  produc- 
ing the  chord.  The  root  is  the  resuitant-ione 
of  the  chord,  and  remains  unaffected  by 
changes  of  position  in  the  parts,  or  by  inver- 
sion. Dissonant  chords  have  properly  no 
roots. 

Rore,  Cyprian  de,  1516-1565.  A  very  distin- 
guished master,  and  one  who  contributed 
essentially  to  the  development  of  music.  He 
wrote  many  motettes  and  madrigals,  in  many 
of  which  he  applied  for  the  first  time  the 
results  of  his  own  experiments  and  those  of 
his  predecessors,  Willaut  and  Zarlino,  in 
chromatic  tones  and  harmonies,  thusincreas- 
ing  the  means  ofmusical  expression. 

Rosellen,  Henri,  i8ti.  An  extremely  popu- 
lar piano  teacher,  of  Paris,  and  the  composer 
of  a  great  number  of  popular  parlor  pieces. 
He  was  a  pupil  of  Henri  Herz  in  piano  play- 
ing, and  of  Fetis  and  Halevy  in  composition. 


a.ale,  u,  aj.i^  a.  arm,  e  eve,  S  end,  I  ice,  I  ///,  o  old,  o  odd,  o  doz'e,  00  moon,  \\.  lute,  u  but,  il  Fr.  sound 

63 


ROS 


DICTION  A  KY, 


SAC 


ICosenliain.  Jacob  (ro-sSn-hine),  1813.  An 
excellent  pianist,  teacher  and  composer  of 
serious  music  ;  byrn  in  Mannheim,  but  setilcil 
for  many  years  in  Paris.  He  won  the  hearty 
praise  of  Alendelssolin  and  Schumann,  and  is 
respected  by  all  who  know  him.  He  now 
lives  in  retirement  in  Baden-Baden. 

KONetti.  Franz  Anton  (ro-st't'-tl),  1750-1792.  A 
Bohemian  musician  and  composer.  He 
wrote  oratorios,  symphonies  and  chamber 
music. 

KOSN,  John,  1764-1833.  Organist  of  St.  Paul's, 
at  Aberdeen.  He  wrote  six  concertos  for 
piano  and  orchestra,  seven  sonatas  for  piano- 
forte, songs,  etc. 

RoS!^i,  Lemme  (ros'-st),  1601-1673.  Professor  of 
philosophy  and  mathematicsat  the  University 
of  P(5rouse,  his  native  city.  He  wrote  a  work 
on  the  relations  of  the  musical  intervals. 

Ro»>!!ii,  Luigi  Felicio,  1805-1863.  A  respected 
professor  of  music  and  composer  of  church 
music  in  Turin. 

RONsiiii,  Gioachomo  Antonio  (ros -se'- ne), 
1792-1868,  was  born  in  Peraro,  of  poor  but 
musically  gifted  parents.  His  father  was  a 
trumpeter;  he  was  also  a  devoted  patriot, 
and  his  revolutionary  enthusiasm  caused  hiiu 
to  be  thrown  into  prison.  While  there,  his 
wife  was  obliged  to  support  the  family,  and 
being  possessed  of  a  fine  voice  and  dramatic 
talent,  went  upon  the  stage  as  a  prima  donna. 
Young  Gioachomo  received  musical  instruc- 
tion very  early,  though  ina  somewhat  desul- 
tory and  superficial  way.  Even  after  he 
entered  the  school  of  music  at  Bologna,  in  his 
ipth  year,  he  was  poorly  taught  in  composi- 
tion. But  he  diligently  studied  Haydn  and 
Mozart,  and  soon  felt  the  impulse  to  compose. 
After  some  eight  or  ten  insignificant  operas 
and  other  youthful  works,  which  served  to 
develop  his  talent  and  to  give  him  skill  in 
composition,  he  wrote  "  Tancred  "  in  his  21st 
year.  This  work  was  so  brilliant,  so  florid, 
S5  full  of  splendid,  gorgeous  effects,  that  it 
made  a  new  epoch  in  Italian  music,  and  re- 
tained its  popularity  all  over  Europe  for  many 
years.  He  had  been  poor,  but  his  success 
with  this  and  some  other  operas  led  to  an  en- 
gagement in  Naples,  where  Barbaja,  his 
theatre  director,  gave  him  valuable  assist- 
ance, and  made  money  for  them  both.  He 
wrote  here  "  The  Barber  of  Seville,"  one  of 
the  best  comic  operas  ever  produced,  and 
*'  Othello,"  in  which  he  strove  after  dramatic 
characterization.  This  latter  tendency  he 
showed  still  more  in  his  "  Moses  in  Egypt," 
and  especially  in  "  William  Tell,"  in  which 
his  work  culminated.  This  was  his  last  opera, 
and  was  written  in  1830.  He  had  now  become 
a  rich  man,  and  lived  in  luxurious  retirement 
the  life  of  a  cultivated  and  elegant  gentleman 
and  connoisseur  until  his  death.  His  only 
important  work  after  "  William  Tell  "  was 
his  "  Stabat  Mater,"  a  brilliant  and  imposing 
but  not  essentially  religious  work.  He  was 
twice  married,  both  times  happily,  and  his 
first  marriage,  especially,  had  an  extremely 
favorable  influence  on  the  development  of  his 
genius.  His  was  one  of  the  great  creative 
minds  of  our  time.     (F.) 

Roil^et  de  1/  Isle.  Claude  Joseph  (ro-ja  dS 
leel),  1760-1836.  The  composer  of  the  world- 
renowned  RIarseilles  Hymn,  perhaps  the 
most  inspiring  battle  song  ever  written.  He 
wrote  nothing  else  of  importance. 

a,  a/e,  ii  add,  a  arm,  S  eve,  S  end,  i  ice,  I  ///,  o  o/d,  0 

63 


Rousseau.  Jean  Jacques  froos-s6),  1712-1778. 
This  distinguished  philosopher  and  author 
was  also  possessed  of  decided  musical  talent. 
He  lacked  thorough  technical  training,  but 
succeeded,  neveitheless,  in  producing  at  least 
one  opera  which  was  decidedly  successful. 
He  also  educated  himself  to  be  an  authoiiiy 
in  musical  criticism,  took  an  active  part  in 
the  disputes  between  Sully  and  the  Italians, 
and  afterwards  between  the  Gluckists  and 
Piccinists,  and  contributed  materially  to  the 
elevation  and  purification  of  French  taste. 

Ruhato  (Ital.  roo-bii-to).  Stolen;  2.  e. 
slackening  or  varying  the  time  for  the  pur- 
pose of  expression. 

Rubilli,  Giovanni  Battista  (ru-be'ne),  1795- 
1845.  One  of  the  most  renowned  singers  who 
ever  lived,  and  the  best  tenor  in  Europe  in 
his  day.  His  voice  was  extremely  fine,  and 
his  execution  astonishing.  Among  his  be^t 
pupils  was  Mario. 

Rubinstein,  Anton  Gregor  (rii -bin-stin). 
'1  he  greatest  piano  virtuoso  of  our  time,  and 
also  a  noted  composer,  was  born  in  W.illachia, 
in  1829.  His  life,  except  when  he  has  been 
on  concert  tours  in  Europe  and  America,  has 
been  spent  in  Russia.  He  was  for  many 
years  director  of  the  Conservatory  at  St. 
Petersburg,  and  also  of  the  Russian  Musicai 
Society  at  the  same  place.  He  has  written 
songs,  piano  music,  chamber  music,  oratorios, 
operas  and  symphonies,  some  of  which  are 
very  important. 

Rubinstein.  Nicolaus,  brother  of  Anton, 
director  of  the  Conservatory  of  the  Singing 
Society  of  the  Russian   Musical  Society   in 

Moscow. 

Rudersdorf,  Emilia,  a  renowned  singer  of 
our  time.  Born  in  Russia  in  1822.  Her 
father  was  a  Dutch  conductor,  who  went  to 
Hamburg  when  she  was  a  child.  At  her 
marriage  with  Professor  KUchermeister  she 
withdrew  from  the  stage,  but  finally  returned 
to  it,  then  settled  in  London,  and  has  now 
been  for  some  years  a  teacher  of  singing  in 
Boston. 

Ruhe  (roo'-e).     Rest,  repose. 

Rust,  F.  W.  (roost),  1739-1796.  Music  director 
in  Anhalt-Dessau.  Pupil  of  Friedemann 
Bach,  and  C.  P.  E.  Bach.  He  was  a  good, 
but  not  a  prolific  composer,  his  strength  being 
devoted  to  the  pmmotion  of  music  and  cul- 
ture generally.  He  made  the  little  princi- 
pality an  intellectual  center  of  great  impor- 
tance. 

Rust,  W.  K.,  youngest  son  of  F.  W.  Rust,  1787- 
1S55.  He  was  an  excellent  pianist  and 
teacher. 

Rust,  Wilhelm,  grandson  of  F.  W.  Rust 
organist  cf  St.  Luke's  Church  in  Berlin,  and' 
since  1S71,  protessor  of  counterpoint  and 
composition  in  Stein's  Conservatory  m  Berlin. 
Born  in  1822.  He-  is  a  distinguished  com- 
poser, writer  on  musical  topics,  and  editor  of 
numerous  works. 

Saeebini.  Antonio  M.  G.,  1734-1786.  A  dis- 
tinguished Neapolitan  composer,  pupil  of 
Durante.  He  wrote  many  operas  and  much 
church  music. 

Siaebs,  Hans,  1494-1576.  The  most  renowned 
of  the  so-called  "  master  singers,"  and  a  pro- 
lific writer  of  verses.     Lived  in  Nurnberg. 

odd,  6  dove,  00  iitoon^  Q  lute,  u  but,  li  Fr.  sound 


SAC 


DICTIONxVRY. 


SCH 


Sackbut.  an  old  bass  wind  instrument  resem- 
bling a  trombone. 

Saorod  lllisio.  Music  composed  for  religious 
worship,  or  in  a  religious  spirit. 

Saeilgerfest  (^sang  -er-fest),  a  festival  of  Ger- 
man singers. 

Saillt-!^aeil8,  Chas.  Carville,  born  183S,  one 
of  the  most  noteworthy  French  composers. 
Has  written  symphonies,  operas,  and  much 
else.  Is  best  known  in  this  country  by  his 
"  Phaeton  "  and  his  "  Danse  Macabre."  The 
former  is  a  fine  specimen  of  legitimate  pro- 
gramme music  ;  i.  c,  music  which  seeks  to 
express  a  series  of  emotions,  connected  with  a 
definite  series  cf  incidents.  He  is  also  an  ex- 
cellent organist  and  pianist. 

$$ailltOII-I>Olb,V.  Madame,  an  eminent  Eng- 
lish contralto  and  teacher  of  singing. 

Sala,  Nicolo,  1732-1800.  A  Neapolitan  contra- 
puntist and  opera  composer. 

Salioional  (Fr.  sa-le-sl-o-nal).  An  organ 
stop  of  string  quality  and  soft  8  ft.  tone. 

t^alieri,  Antonio,  1750-1825.  Born  in  Venice. 
Lived  mostly  in  Vienna.  Prolific  composer 
of  operas,  which  had  onlya  short-lived  popu- 
larity. Was  friend  of  Gluck,  rival  of  Mozart, 
and  teacher  of  Franz  Schubert. 

Salonian,  Siegfned,  born  1818.  Danish  com- 
poser and  violinist.  Has  written  operas  and 
instrumental  music  ;  also  lectures  on  the 
theory  of  music. 

SaltarellO,  an  Italian  dance  of  the  15th 
century,  in  triple  measure.  Also  a  modern 
Roman  folks-dance. 

Salve  regina  (siil-ve  ra-ge -nii).  "  Save,  O 
Queen,"  a  hymn  to  the  Virgin. 

Sail  Martini,  G.  B.  First  half  of  18th  century 
in  Milan.  Talented  composer.  Wrote  sym- 
phonies resembling  the  earlier  ones  of  Haydn. 

Sanf  tig  (Ger.  siinf'-tig).     Soft,  gentle. 

Sailgbar  (Ger.  sang-bar).     Singable. 

Sarabaiida,  or  Sarabaiicle,  an  old  dance 
in  3-4  time,  in  slow  and  stately  movement. 

Sai'asate,  Pablo  de,  an  extremely  gifted  young 
Spanish  violinist  of  the  present  time.  He 
already  belongs  in  the  first  rank  of  virtuosi. 
Was  a  pupil  of  Alard,  in  Paris. 

Sarti,  Giuseppo,  1729-1802.  Italian  opera  com- 
poser, pupil  of  Padre  Martini.  Was  conduc- 
tor and  teacher  in  Milan,  Venice,  and  at  the 
court  of  Russia. 

Satz  (Ger.  satz\  Piece.  Saiz  is  the  German 
for  piece,  phrase,  movement. 

Saxboril,  a  brass  instrument  of  the  trumpet 
kind,  iuvented  by  M.  Sa.x,  in  1842  ;  much 
used  in  brass  bands. 

Scale,  the  tones  of  a  key  arranged  in  regular 
order  according  to  the  pitch.  4 

Scarlatti,  Alessandro,  1649-1725.  One  of  the 
greatest  Italian  composers,  wrote  operas, 
church  and  chamber  music.  Was  made  a 
knight,  and  was  royal  conductor  in  Naples. 

Scarlatti,  Domenico,  son  of  A.,  1683-1757. 
Wrote  operas,  church  music,  and  much  piano 
music,  which  is  still  prized.  Was  a  superior 
pianist. 

Scaria,  Emil,  Born  1838.  One  of  the  noblest 
bass  singers  of  the  present  time.  Pupil  of 
Garcia. 


Sceiia  (Ital.  shii  -nal,  a   scene,  a  distinct  part 

of  an  opera  or  play. 
Scliad,  Joseph.     Born    1812.     Pianist,  teacher 

and  composer.     Professor  at  Conservatory  of 

Geneva. 
Sclialniei  (Ger.  schal-mi'),  an  8  ft.  reed  stop 

in  the  organ. 
Scliarf,  an  acute  "  mixture"  stop  in  the  organ. 

Sclierek,   Max.       Bom    1840.     Violinist   and 

composer  in  Pasen. 
Sclierzaildo  (Ital.  skert-zan  -do).    Playfully. 
Scliei'ZO  (Ital.  skart'-zo).     Play,  sport,  jest. 

ScherzOSO  (Ital.  sk6rt-zo -so).  Merry,  play- 
ful, iocose. 

Scllillillg,  Dr.  Gustav,  the  musical  literateur 
and  writer  about  music,  was  born  in  Schwieg- 
ershausen,  Hanover,  in  1805,  educated  at 
Gottingen  and  Halle,  and  resided  for  some 
time  in  Stuttgart.  Is  author  of  a  complete 
Encyclopedia  of  music  (7  vols.  8  vo.),  a 
theory  of  harmony,  biographical  notices,  etc., 
etc.     Came  to  America  in  1857. 

Scllilldler,  Anton,  the  biographer  of  Beetho- 
ven, was  born  1796  at  Medl,  studied  the 
violin,  and  became  opera  conductor.  In 
Vienna  he  became  acquainted  with  Beetho- 
ven, and  in  1840  published  his  beok.  Died 
in  1S64. 

Scllira,  Francesco  Vincenzio,  a  dramatic  com- 
poser, was  born  at  Mailand,  1812,  studied 
there  in  the  Conservatory,  and  composed  his 
first  opera  in  1833.  Lived  for  several  years 
in  Lisbon  as  opera  conductor,  and  died  there 
of  cholera. 

Scllisnia,  very  minute  interval  equal  to  the 
ratio  32805  :  32768. 

Sclllag  illStrimiente  (Ger.'l  Instruments 
of  percussion  ;  drums,  cymbals,  triangles, 
bones,  etc.,  as  well  as  all  the  dulcimer  tribe, 
among  which  is  the  piano-foite. 

Sclimitt.  Alois,  a  favorite  clavier  player  of  the 
old  school,  and  composer  for  his  instrument, 
was  born  in  1789  at  Erlenbach.  At  the  age 
of  14  he  appeared  as  virtuoso,  and  studied 
composition  with  Andr^,  at  Offenbach.  Died 
1866.  Was  composer  of  sj'mphonies,  quar- 
tettes, piano-pieces,  etc. 

Scliniitt,  Alois  G.,  was  born  at  Hanover  in 
1827,  composed  an  opera  at  an  early  age,  and 
appeared  as  pianist  with  success,  especially 
in  England.  On  his  return  to  Germany  he 
filled  many  positions  as  opera  conductor,  and 
composed  much  music,  including  several 
operas. 

Scllliabel,  Joseph  Ignaz,  was  a  celebrated 
church  composer  of  masses,  etc.  Born  1767 
at  Naumburg.     Died  1831. 

ScIlOOl,  education,  training. 

Schneider.  Friedrich  Johann  Chr.,  was  born 
near  Ziltau  in  1786.  He  was  the  son  of  an 
organist,  and  at  the  age  of  eight  took  his 
father's  place  at  the  organ.  He  began  early 
as  a  composer,  producing  symphonies,  piano 
and  organ  pieces,  etc.,  and  in  1812  was  ap- 
pointed organist  of  the  St.  Thomas  Church 
at  Leipsic,  a  place  he  left  in  1821  for  one  at 
Dessau,  where  he  died  in  1853.  He  exerted 
great  influence  by  the  education  of  pupils, 
among  whom  were  Baake,  Gathy,  Fritz 
Spindler,  Robert  Franz,  Carl  Anschutz,  etc. 
He  wrote  g  oratorios,  13  masses,  7  operas,  23 
symphonies,  23  overtures,  60  sonatas,  7  con- 
certos with  orchestra,  etc.,  etc. 


a,  ale^  a  add^  ii  arin^  <!  eve,  6  endy  i  ice^  \  ill,  0  old,  6  odd,  6  dove,  00  moon,  fl.  lute,  u  liut,  U  Fr.  soutid 

64 


sen 


DICTIONARY. 


SER 


Sclllieider.  Johann  Gottlob,  lirotlier  of  Fried- 
rich,  was  also  born  at  Altgersdorf,  near  Zittaii, 
in  1789,  and  studied  not  only  the  organ  but 
also  the  piano  and  all  orchestral  instruments, 
distinguishing  himself  particularly  upon  the 
'cello.  In  181 1  he  succeeded  his  brother  as 
organist  in  the  University  church  at  Leipsic, 
and  in  1812  became  organist  at  GOrlitz.  Dur- 
ing the  13  years  in  this  position  he  studied 
organ  building  carefully,  and  cffecled  various 
important  reforms  in  it.  In  1S20  he  came  the 
second  time  to  Dresden,  and  there  resided 
until  his  death,  April  13,  1864.  Schneider's 
activity  was  great  in  three  directions :  as 
teacher,  organ  expert,  and  virtuoso  performer. 

Sclllieider,  Johann  Julius,  royal  music  direc- 
tor, etc.,  was  born  at  Berlin  in  1805,  the  son' 
of  an  organ  builder  He  showed  great  talent 
for  music,  and  studied  the  piano,  organ,  sing- 
ing, theory,  violin,  horn,  etc.,  and  presently 
occupied  all  sorts  of  prominent  positions  in 
Berlin  as  teacher,  director,  organist,  and 
composer.  He  wrote  opera^^,  cantatas,  200 
songs  for  male  voices,  a  quintette  for  piano  and 
wind  instrument,  organ  pieces,  70  pedal  e.ver- 
cises,  40  fugues,  80  choral  preludes,  etc.  Has 
been  the  recipient  of  many  honors. 

ScllOberleclmer. Franz,  composerand  piano 
virtuoso,  was  born  in  1797  at  Vienna,  a  pupil 
of  Hummel,  began  early  as  a  composer,  in 
1824  received  10,000  rubles  for  an  opera  he 
brought  out  at  St.  Petersburg,  and  died  1843. 
Wrote  5  operas  and  various  instrumental 
works. 

ScIlOOnfeld,  Henry,  was  born  in  iMilwaukee, 
Oct.  4,  1856.  He  is  a  pupil  of  the  Leipsic 
Conservatory  and  Lassen,  of  Weimar.  He 
is  a  composer  of  considerable  merit.  Among 
others,  "  The  Easter  Idyll,"  a  cantata  for 
solo,  chorus  and  orchestra  ;  several  sonatas, 
pieces  for  piano,  violin,  chorus  and  songs,  etc. 

!«!»eIlI'Oeder-l>evrieilt,  Wilhelmine,  a  great 
dramatic  singer.  Jiorn  at  Hamburg,  1804, 
the  daughter  of  a  celebrated  tragedienne, 
made  her  debut  in  1819,  and  in  1822  distin- 
guished herself  in  Beethoven's  "  Fidelio." 
Died  i860. 

Schubert,  Franz  Peter,  the  founder  of  the 
romantic  school  of  composition,  and  the  great 
master  of  song,  was  born  Jan.  31,  1797,  near 
Vienna.  His  father  vvras  a  schoolmaster.  At 
the  age  of  eight  he  was  choir-boy  in  the 
Lichtenthaler  church,  and  began  the  study 
of  music,  and  presently  pl.iyed  the  first  violin 
with  success.  In  1810  he  wrote  his  first 
fantasia  for  piano-forte  for  four  hands,  and 
from  then  until  his  death  he  produced  a  con- 
tinual succession  of  compositions,  in  the 
form  of  songs  (of  which  he  left  600),  sonatas, 
an  opera,  eight  symphonies,  masses  and  vocal 
works  of  all  sorts,  trios,  duos,  etc.  Schubert 
is  distinctly  a  melodist,  yet  as  a  harmonist 
and  orchestral  colorist  he  is  also  great.  His 
songs  are  among  the  most  beautiful  works  of 
this  kind,  and  in  the  greatest  ones,  like  "  The 
Erl  King,"  and  "  Gretchen  at  the  Spinning 
Wheel,"  he  extended  the  bounds  of  musical 
expression.  In  his  longer  works  he  is  fre- 
quently diffuse.  But  his  melodies  are  always 
fresh  and  spontaneous,  in  which  respect  he 
is  like  Mozart.  Seep.  190  for  further  obser- 
vations on  Schubert's  relation  to  Chopin  and 
Schumann.     Schubert  died  1828. 


Svlilillioff*,  Julius,  piano  virtuoso  and  salon 
composer,  was  born  .it  Prague  in  1825. 
Studied  with  Kisch  and  Tomascheck,  and 
appeared  in  public  successfully  at  the  age  of 
sixteen.  In  his  17th  year  he  went  to  Paris, 
where  he  learned  higher  piano-playing  from 
Chopin,  Liszt,  and  Thalberg.  Since  1854  he 
has  lived  in  Dresden. 

Schultze,  Edward,  violinist  and  leader  of  the 
famous  Mendelssohn  Quintet  Club  of  Boston, 
was  born  in  Germany  about  1828,  and  came 
to  this  country  with  the  Germania  Musical 
Society,  about  1852,  and  has  resided  since 
then  in  Boston. 

Sclllllz.  Johann  Peter, anoted  song  composer, 
was  born  at  Llineburg,  1747.  and  became  di- 
rector of  the  theatre.  Died  1800.  -Schulz 
exercised  important  influence  on  the  develop- 
ment of  the  Lied. 

Sclilllliailll,  Gustav,  called  also  "  the  Berlin 
Schumann,''  wEsborn  at  Holdenstedt,  March 
15,  1815,  and  has  lived  most  of  his  life  in 
Berlin,  where  he  is  highly  esteemed  as  com- 
poser and  pianist. 

Schlllliailll,  Robert,  the  greatest  composer  of 
the  romantic  scliool,  was  born  at  Zwickau, 
1810.     Died  1856.     See  Chapter  XLIX. 

Scliarweilka,  Philip.  Born  1847.  Teacher 
in  KuUak's  Academy  of  Music  in  Berlin,  of 
which  he  was  .a  pupil.  Composer  of  sym- 
phonies and  lesser  works. 

Scliarwenlia,  Xaver,  younger  brother  of 
Philip.  Born  1S50.  Also  a  pupil  of  Kullak's 
Academy,  and  taught  there  for  some  time. 
Distinguished  pianist  and  composer  of  piano- 
forte music,  as  well  as  chamber  music. 

SchAveifzor,  Anton,  was  a  dramatic  composer 
and  kapellmeister  at  Gotha  and  Weimar. 
Born    1737,  died  17S7.     Composed   about  20 

operas. 

ScordatO  (Ital.  skor-da'-to).  Out  of  tune, 
false. 

Score,  all  the  voice-parts  of  a  piece,  arranged 
in  parallel  staves  so  as  to  show  the  entire 
instrumentation  at  a  glance.  Orchestral 
jfiiri?  contains  all  the  orchestral  parts  ;  vocal 
score^  all  the  voice  parts  ;  piano  score,  all  the 
piano  part,  or  the  voice  and  piano  parts. 

Score-reading'.    The  art  or  act  of  playing 

or  thinking  music  from   the   orchestral  score. 

SeeliniSf,  Hans,  a  brilliant  pianist  and  good 
composer,  was  born  in  1828  at  Prague,  made 
a  number  of  concert  tours,  and  died  at  Prague 
in  1862. 

Selig'llian,  Hippolyte-Prosper,  a  violoncello 
virtuoso,  born  1817  at  Paris,  and  e^iucated 
there.  Is  the  composer  of  over  50  works, 
mostly  operatic  fantasies.  Is  the  owner  of 
one  of  the  best  of  Nicola  Amati's  'cellos. 

Seilfel.  Ludwig,  was  one  of  the  most  noted 
German  composers  of  church  music  in  the 
16th  century. 

Seiiza  (Ital.  sand'-zS).  Without;  as  seiiza 
pedale,  without  pedal;  senza  ritard^  with- 
out retard. 

Servo,  Alex.  Nikol  (sTii  -vo),  a  Russian  opera 
composer  and  writer,  a  friend  of  Liszt  and 
Wagner,  was  born  1820.  Several  of  his  operas 
were  produced  in  St.  Petersburg.     Died  1871. 


a  ale^  a  add,  ii  arin^  e  ezie,  S  end,  1  ice,  1  ///,  o  old^  o  odd,  6  dove,  00  i/ioon,  u  luU\  il  iui,  ii  Fr.  sound 
■>  65 


SER 


DICTIOXARY. 


SOS 


Scrvais,  Adrien  Franfois  (sar-va),  iSsy- 
1866.  One  of  the  greatest  violoncellists  of 
his  time.  He  wrote  much  for  his  instrument, 
and  was  professor  of  the  violoncello  at  the 
Conservatory  of  Brussels. 

Sextftto,  a  composition  fjr  six  voices  or  in- 
struments. 

Seyfriecl,  Ignaz  Xaver,  Ritter  von  (sT'-freed), 
1776-1S41.  I'upil  of  Mozart  and  Albrechts- 
berger.  For  30  years  conductor  at  the 
"  Theater  an  der  Wien,"  Vienna.  Prolific 
composer  of  operas  and  church  music. 

Sforza  I  Ital.  sfOr-tsa).     Forced,  with  vigor. 

Shake,    a    trill.     See    "Embellishments"    in 

Appendix. 
Sliarp,  a  character  indicating  elevation.     See 

"  Pitch  Notation"  in  Appendix. 

ISlierWOOCi,  William  H.,  virtuoso  pianist  and 
composer,  was  born  in  Lyons,  N.  Y.,  i8,it, 
the  son  of  a  music  teacher.  Studied  the 
piano  at  an  early  age,  and  in  1871  went  to 
Berlin,  where  he  studied  with  Kullak,  and 
afterwards  with  Liszt  at  Weimar.  Since  his 
return  to  America  in  1875,  .Sherwood  has  ap- 
peared in  all  the  leading  cities  with  the  great- 
est success  in  important  and  highly  artistic 
progr.immes.  Resides  in  Boston.  Is  one  of 
the  first  pianists  of  our  time. 

Shield,  William,  1754-1829.  English  composer 
of  over  50  operas  for  Covent  Garden  Theatre. 

i^hift.  position  of  the  hand  on  the  finger-board 
of  the  violin. 

Si  l!>eillol  (Fr.  so  bf'-mol).     B  fiat. 

Sioiliano  ( Ital.  se-tshe-li-a-no).  A  dance  of 
the  Sicilian  peasantry,  in  soft,  slow  move- 
ment, in  6-8  time. 

Signature,  sharps  or  flats  placed  at  the  begin- 
ning of  a  st.iff  or  movement  to  indicate  the 
key.  See  "Chromatic  Signs"  in  "Synopti- 
cal Cliart  of  Musical  Notation."     Appendix. 

Silhei'Bliami,  Gottfried.  Born  16S3.  One  of 
the  best  oigan  builders  of  his  lime,  and  one 
of  the  original  inventors  of  the  pi.ano-forte, 
substituting  hammers  for  the  quills  of  the  old 
harpsichord. 

Silvani.  Giuseppo  Antonio,  first  half  of  the  i8th 
century  organist  in  Bologna,  and  composer  of 
much  church  music. 

Simile  (Ital.  se-me-le).  Similarly,  in  like 
manner.  Written  after  finger  markings,  indi- 
cates that  the. /inhering' 1%  to  be  continued  in 
the  same  manner.  After /f?;/ means  that  the 
pedal  is  to  be  used  in  the  same  way  thereafter. 

Singer.  Edmund.  Born  1831  in  Hungary. 
One  of  the  greatest  violin  virtuosi  of  his  time. 
Now  professor  in  Stuttgart. 

Singer,  Otto.  Born  in  1833.  Excellent  pianist, 
composer  and  teacher.  Now  of  the  College  of 
Music  in  Cincinnati. 

Sin'al  fine  (Ital.  sen  al  fen'-6).  To  the  end, 
or  to  the  woxA_/lne. 

Singspiel  (Ger.  stng-spel).  A  song-play,  a 
pl.^y  interspersed  with  songs,  an  opera. 

Sinistra  (Ital.  sin'-ls-tra).     The  left  hand. 

Siren,  an  instrument  for  measuring  the  rapidity 
of  vibrations  producing  given  pitches.  See 
Tyndal  on  sound. 

Sivori,  Ernst  Camille.  Born  1817.  The 
greatest  living  Italian  violin  virtiioso.  Also 
a  thorough  musician,  and  a  composer  for  his 
instrument. 


Skraiip,  Fr.  i3oi-:862.  Bohemian  opera  com- 
poser. Also  an  e,\cellent  cniducior  and  a 
composer  of  masses  and  of  chamber  music. 

Slargando  (Ital.  Slar-gan'-do).  Extending, 
widening,  making  the  time  gradually  slower. 

Slentando  (Ital.  slen-tan -dO).  Becoming 
gradually  slower. 

Sloper,  Lindsay.  Born  1826.  Pupil  of  Mos- 
cheles  in  piano  playing.  Studied  also  in 
Germany,  became  an  excellent  pianist,  and 
is  now  a  piano  teacher  in  London.  Has  also 
composed  piano-forte  music  and  songs. 

Slur,  a  curved  line  over  two  or  more  notes  to 
show  that  they  represent  legato  tones. 

Smart,  George.  1778-1867.  Excellent  con- 
ductor, and  did  much  to  promote  the  study  of 
classical  music  in  England.  Founded  the 
Philharmonic  Society.  Was  a  friend  of  Weber. 
Was  also  a  good  composer. 

Smith,  John  Christopher,  1712-1795.  Born  in 
Germany,  but  lived  in  England  in  Handel's 
time.  Was  a  pupil  of  Handel  in  composition. 
Wrote  many  operas.  Was  a  good  organist 
and  a  talented,  and  accomplished  musician. 

Smith,  Sydney,  an  English  pianist  and  arrang- 
er of  popular  pieces.  Born  about  1840,  and 
educated  at  Leipsic. 

Smorzando  (Ital.  smor-tsiin'-do).  Extin- 
guished, put  out,  gradually  dying  away. 

Snare  Drum,  a  small  side-drum  used  in  mili- 
tary music,  deriving  its  name  from  two  cords 
of  gut  stretched  across  one  of  the  heads. 
These  give  it  a  hard  metallic  tone. 

Soave  (Ital.  sO-ii'-ve).     Softly,  sweetly. 

Soedermann.  Aug.  Johann,  1832-1876.  Swe- 
dish composer  of  marked  originality.  Pupil 
of  Richter  and  Hauptmann.  Also  an  excel- 
lent conductor. 

Sol  (Ital.  sol).  The  fifth  of  the  scale,  the  tone 
G  in  French. 

Solfa.     See  Tonic  Sol-Fa. 

Solo,  a  piece  for  a  single  singer  or  player. 

Somniai(Ital.  som-mii).  Extreme,  great.  Som- 
)na  cspressione^  very  great  expression. 

Sonata  (Ital.  so-nit-ta).  An  important  form 
in  instrumental  music.     See  Chapter  V. 

Song,  a  short  poem  for  singing.  A  short  piece 
of  music  in  lyric  style. 

Sonore  (Ital.  so-no'-ra).  Sonorous,  harmoni- 
ous. 

Sontag,  Henrietta,  1805-1852.  A  renowned 
opera  singer,  distinguished  for  the  beauty  of 
her  voice,  the  perfection  of  her  method,  and 
the  astonishing  facility  of  her  execution.  She 
commanded  enormous  prices.  She  married 
Count  Rossi,  of  the  Italian  diplomatic 
service,  and  lived  most  happily  with  him 
until  her  death  by  cholera  in  Mexico. 

Sopra  (Ital.  so'-pra).     Above. 

Soprano  (leal,  so-pra-no).  The  highest 
female  voice.     The  music  for  soprano  voice. 

Sordino  (Ital.  sor-de-no).  A  mute.  A  small 
instrument  for  obstructing  vibration.  In  the 
trumpet  it  is  a  plug  nearly  closing  the  bell. 
On  the  violin^  a  small  instrument  for  pinch- 
ing the  bridge. 

Sospirevole  (Ital.  sos-pe-rii-vo-leV  Sigh- 
ing, very  subdued. 


a,  aCc^  a  add^  ii  arm.,  e  eve^  e  end^  i  ice^  i  ///,  0  old,  o  odd,  6  dove,  00  moi,n,  it  Hute,  u  but,  ii  Fr.  sound 

66 


SOS 


DICTIONARY. 


STR 


Sostenilto  (Ital.  s6s-ta-noo'-to).     Sustaining 

the  tone. 

JSotto  voce  (Ital.  sot -to  vo -tshe).  Under 
the  voice,  that  is,  in  a  low  voice,  softly. 

Speulel.  Wilhelm,  born  1826,  in  Vienna.  An 
excellent  pianist,  and  especially  rcnouiied  as 
a  IJeethoven  interpreter.  Also  an  excellent 
composer  and  conductor,  and  one  of  the 
founders  of  the  Stuttgart  Conservatory. 

Speitlel,  Ludwig,  brother  of  Wilhelm,  born  in 
1830.  Distinguished  critic,  and  one  of  the 
editors  of  the  Vienna  "  New  Free  Press." 

tliipiaiiato  (Ital.  spe-a-na-to).  Smooth,  even, 
legato. 

SpifcatO  (Ital.  spek-ka -to).  Tointed,  de- 
tached. Jn  violin  music,  "  with  the  point  of 
the  bow." 

Spiinller,  Fritz,  born  1817.  Fine  musician, 
composer,  and  piano-forte  teacher.  Pupil  of 
Fr.  Schneider.  Has  written  much  piano-forle 
music,  also  chamber  music  and  a  symphony. 
Is  a  teacher  in  Dresden. 

S^pillOt,  an  old  instrument  somewhat  like  the 
square  piano. 

SpiritoSO  (Ital.  spe-re-to'-zo).  In  a  spirited 
manner. 

i^pitx  floete  (Get.  spitz  fl6'-te.).  An  organ 
stop  of  a  pointed  flute-tone,  generally  of  8  ft. 

S^polir,  Louis,  1784-1859.  Native  of  Brunswick. 
Distinguished  composer  and  violin  virtuoso. 
Also  an  excellent  orchestral  conductor.  He 
wrote  in  all  branches  of  composition,  but  es- 
pecially operas  and  symphonies  of  high  rank. 

i^pontiiii.  Gasparo  tuigi  Pacificus,  1774-1851. 
One  of  the  greatest  Italian  opera  composers. 
He  was  a  superior  conductor,  and  was  for 
more  than  twenty  years  directorot  the  Royal 
Opera  in  Berlin,  whither  he  was  tempted  from 
a  conductor's  post  in  Paris,  by  a  large  salary 
and  great  privileges.  His  greatest  operas  are 
"The  Vestal  Virgins"  and  "Ferdinand 
Cortez." 

SpOllllOlz,  Adolph  Heinrich,  1803-1851.  Or- 
ganist in  Rostock,  and  composer  of  piano- 
iorte  music,  songs,  motettes  and  orchestral 
pieces. 

Stabat  Mater  (stii -bat  mil -ter).  A  cantata 
or  oratorio  by  Rossini  in  1S32.  The  words 
are  those  of  a  very  old  hymn. 

Staccato  (Ital.  stak-ku  -to).  Detached,  dis- 
tinct, separated.  Staccato  is  of  many  grades, 
from  the  mild  one  made  by  the  violin  bow 
when  reversed  for  each  successive  note,  to 
the  extreme  pizzicato  made  by  snapping  the 
strings. 

Stseildclien  (Ger.  stand'-khen).      A  serenade. 

Stailier,  Jacob,  1621-1683.  The  greatest  violin 
builder  of  the  Tyrol,  and  one  of  the  greatest 
anywhere, 

Stailier.  Mark,  born  1659.  Brother  of  Jacob, 
also  a  violin  maker. 

t^tailiei',  Dr.  J.,  an  English  organist  and  com- 
poser, author  of  many  arrangements  for  the 
organ,  church  music,  etc. 

Stanialy.  Camille  Maria,  1811-1870.  Cele- 
bralcd  French  teacher  of  the  piano-forte,  and 
composer  of  valuable  studies  for  that  instru- 
ment. He  taught  Camille  Saint-Saens  and 
L.  M.  Goitschalk. 


Stark,  Ludwig.  Born  1831.  One  of  the  foun- 
ders of  the  Stuttgart  Conservatory,  and  one 
of  the  authors  of  Lebert  and  Stark's  '"  School 
for  the  piano-forte."  Lebert  and  Stark  also 
wrote  an  "Elementary  Instruction  Book  for 
Singing,"  and  a  "  German  Song  School." 
Teacher  of  the  piano-furle  and  of  singing, 
also  conductor  and  composer,  especially  of 
sacred  and  secular  choruses. 

Staildi^l,  Joseph  (stow'  -  dtgl).  1804  -  1861. 
Austrian  bass  singer,  renowned  in  opera, 
oratorio  and  songs.  To  his  noble  interpre- 
tations the  songs  of  Franz  Schubert  owe  a 
large  part  of  their  popularity.  One  of  the 
greatest  singers  of  this  century. 

Steffani  Agastino,  the  Abbd.  1655-1730.  One 
of  the  most  distinguished  composers  and 
singers  of  his  time.  A  Venetian.  He  com- 
posed operas,  church  music  and  chamber 
music. 

Steilx'It,  Daniel,  1755-1823.  Born  in  Berlin. 
Pianist  and  composer.  As  a  player  he  was 
brilliant  and  effective,  but  lacked  thorough 
training  both  in  this  and  in  composition.  His 
works  have  no  permanent  value. 

Steiliway,  the  name  of  a  family  engaged  in 
the  manufacture  of  pianos  in  New  York, 
under  the  name  of  Steinway  &  Sons.  The 
founder  of  this  firm,  Henry  Steinway,  was 
born  in  Brunswick,  1797.  It  is  now  conducted 
by  his  two  surviving  sons,  Theodore  and 
William. 

Stem,  Julius.  Born  in  Breslau  in  1820.  He 
is  one  of  the  ablest  and  best  musicians  of  our 
time,  excelling,  as  a  conductor  and  teacher. 
His  Conservatory  of  I\Iusic  and  Singing  So- 
ciety in  Berlin  are  among  the  very  best  insti- 
tutions of  their  kind. 

Steriitlale-Beiinett,  W.    See  Bennett. 

Stesso  lUOSSO  (Ital.  stas'-so-mos -so).  The 
same  movement,  i.e.,  any  given  note,  as  an 
eighth  or  quarter,  goes  at  the  same  speed  in 

both  movements. 

Stockliauseil,  Julius.  Born  in  Paris  in  1826. 

He  is  a  most  distinguished  singer  of  songs, 
and  in  opera  and  oratorio,  and  an  e.\cellent 
teacher  and  conductor.  He  is  now  director 
of  the  Stern  Society  in  Berlin. 

Stop,  an  organ  register.     See  Register. 

Stopped  Pipes,  organ  pipes  stopped  at  the 
upper  end.  In  this  case  the  sound-wave  is 
reflected  back  again  to  the  mouth  of  the  pipe, 
consequently  stopped  pipes  are  only  half  as 
long  as  open  ones  giving  the  same  pitch. 

St.  Peter,  an  oratorio  by  John  K.  Paine,  in 

1873.    Also  by  Sir  Julius  Benedict. 
St.  Paul,  oratorio  by  Mendelssohn,  in  1836. 

StradeJla.  Allessandro,  1645-1670  (?).  One  of 
the  best  singers  and  composers  of  his  time. 
He  was  born  in  Naples,  and  assassinated  in 
Genoa. 

Stradivari,  Antonius,  1644-1737.  The  most 
renowned  and  best  of  all  violin  makers.  He 
was  born,  lived  and  died  at  Cremona. 

Stradivari.  Franc'sco  and  Oruobone,  sons  of 
Antonius,  and  also  good  violin  makers. 

StraliOScJl,  Maurice,  born  in  Hungary  in 
1825.  Pianist,  composer  and  impressario. 
Lives  in  New  York. 

Strathspey,  a  lively  Scotch  dance,  in  common 

time. 


a  «/f,  a  add.,  a  arm,  e  e-ve.,  6  end.,  I  ice,  1  ///,  o  old,  o  odd,  o  dove,  00  moon,  u  lute,  \x  but,  u  Fr.  sound 


67 


STR 


DICTIONARY. 


TAR 


Strauss,  Jos.,  1793-1866.  Conductor  in  the 
serviceof  the  Grand  Duke  of  Baden.  Violin- 
ist and  composer  of  operas,  overtures  and 
chamber  music. 

Strauss,  Johann,  1804-1849.  Lived  in  Vienna, 
and  is  known  the  viforld  over  by  his  beautiful 
dance  music.  His  sons,  John,  Joseph  and 
Edward,  are  hardly  less  renowned  for  their 
productions  in  the  same  field.  John,  indeed, 
has  also  written  comic  operettas.  His  waliz, 
"  On  the  Beautiful  blue  Danube,"  is  the  best 
known  of  his  works. 

Streng  (Ger.  streng).     Strict,  severe,  rigid. 

StrepitOSO  (Ital.  strep-I-l6'-z6).  Noisily, 
boisterously. 

StrettO  (Ital.  straf-t5).  Pressed,  close,  con- 
tracted. That  part  of  a  fugue  where  all  the 
subjects  come  together,  or  where  the  imita- 
tions take  place  more  rapidly  after  each  other. 
A  quicker  passage  leading  to  a  close. 

Strict,  severe,  rigid. 

Stringed     Instruments.      Instruments 

whose  sounds  are  produced  by  striking 
strings  (as  in  the  piano-forte  or  dulcimer), 
drawing  them  (as  in  the  harp  or  guitar),  or 
X.\ie  friction  of  a  bow  (as  in  the  violin  family  \. 

Stringendo  (Ital.  stren-jan  -do).  Pressing, 
hurrymg,  accelerating  the  time. 

String  CJuartette,  the  violin  family,  con- 
sisting of  violins,  viola  and  'cello.  Music  for 
these  instruments,  Also  called  "string  band." 

Stroplie,  a  stanza. 

Stueclc  (Ger.  stiik).     Piece,  air,  tune. 

Sub  (Lat.  sub).     Under. 

Sub-bass,  the  low  bass.  The  violon.  A  pedal 
stop  in  the  organ.     16  ft. 

Snbdoniinant,  the  fouith  of  the  key. 

Subject,  the  leading  idea  of  a  work. 

Suite  (Fr.  swet).  A  succession  of  pieces  in- 
tended to  be  played  in  connection. 

Sul  (Ital.  sool).     On,  upon  the. 

Sullivan,  Arthur  Seymour.  Born  1S42.  He 
was  a  pupil  of  the  Leipsic  Conservatory,  and 
is  a  talented  and  accomplished  musician  and 
composer.  He  has  written  works  of  con- 
siderable importance,  including  one  or  two 
oratorios,  but  is  best  known  in. this  country 
by  his  comic  operetta,  "  H.  M.  S.  Pinafore,'' 
which  had  a  most  extraordinary  run  in  1879. 

Supertonic.  the  tone  above  the  tonic,  the 
second  of  the  scale. 

Suppe,  Franz  von,  was  born  in  Dalmatia  in 
1820.  He  is  a  conductor  in  Vienna,  and  has 
composed  operas,  symphonies,  quartettes, 
etc,  Hs  is  best  known  by  his  comic  operet- 
tas, of  which  "  Fatinitza''  and  "  The  Beau- 
tiful Galatea"  have  been  given  in  this  country. 

Suspension,  a  dissonant  tone  held  over  from 
a  preceding  chord  where  it  was  consonant, 
and  finally  resolved  (geneially  downwards) 
into  some  proper  tone  of  the  chord  into  which 
it  had  intruded. 

Svendsen,  Johann  Severin,  was  born  in 
Christiana,  Sweden,  in  1840.  He  studied  at 
the  Leipsic  Conservatory,  and  is  a  much  ad- 
mired and  highly  respected  musician  and 
composer.  He  has  written  admirable  and 
original  quartettes,  symphonies  and  other 
works. 


Swell  Organ,  that  division  of  the  organ 
whose  pipes  are  enclosed  in  a  box  with  mov- 
able blinds,  operated  by  a  '■swell-pedal," 
thus  making  crescendo  and  diminuendo. 

Symphony,  the  most  important  instrumental 
form,  being,  in  fact,  nothing  but  a  large  sonata 
for  orchestra.     See  Chapters  XV.  and  XVI. 

Symphonic  Poem,  an  orchestral  composi- 
tion in  symphonic  style,  but  not  strictly  so. 

Syncopation,  "  a  cutting  into."  a  conceal- 
ment of  the  measure  accent,  either  by  a  false 
accent  (accent  on  what  would  properly  be  an 
unaccented  part  of  the  measure),  or  by  a 
prolongation  of  a  tone  out  of  a  weak  part  of 
the  measure  past  the  moment  when  the  ac- 
cent should  come. 

Taborowski,  Stanislaw.  Born  183O.  Violin 
virtuoso.  Studied  in  Brusse.ls.  Lives  in 
Russia. 

Tacchinardi,  Nicholas,  1776-1860.  Dis- 
tinguished tenor  singer  of  Florence.  Sang 
also  in  other  Italian  cities,  and  in  Paris. 

Tace  (Ital,  ta -tshe).  Be  silent.  Indicates  that 
certain  instruments  are  not  to  play.  Violini 
tacet,  violins  be  silent,  etc. 

Tact  (Ger.  takt).     Measure,  time. 

Tallis,  Thomas,  one  of  the  greatest  English 
contrapuntists  of  the  i6th  century.  Was  an 
excellent  organist. 

Tamberlik,  Enrico,  was  born  at  Rome  in 
1820.  One  of  the  best  tenor  singers  of  our 
time.     Taught  singing  in  Madrid  after  1867. 

Tambourine,  a  small  instrument  of  the  drum 
family,  consisting  of  a  wooden  hoop  with 
holes  in  the  sides,  in  which  are  jingling 
pieces  of  metal,  and  a  sheepskin  head 
stretched  on  it. 

Tamburini,  Anton,  1800- 1876.  A  distin- 
guished Italian  bass  singer.  Sang  in  opera 
with  Rubini,  Lablache  and  others,  and  was 
their  equal. 

Tamtam,  an  Indian  instrument  of  percussion. 

Tansur,  Wm.  Born  1699.  English  contra- 
puntist and  writer  on  music. 

TantO  (Ital.  tan' -to).  So  much,  so  great. 
A  llegro  Jiia  non  tanto,  allegro,  but  not  too 
much. 

Tantiim  Ergo  (Lat.  tan -turn  ar-go).  A 
Latin  hymn  sung  at  the  benediction  in  the 
Roman  Catholic  service. 

Tappert,  Wm.  Born  1830,  in  Silesia.  Writer 
on  music  of  great  ability,  and  a  strong  Wag- 
ner partisan.  Also  teacher  in  Tausig's  piano 
school  in  Berlin.  Editor  of  "  The  Universal 
German  Musical  Journal"  since  1878. 

Tarantella  (Ital  tar-ran-tal-la).  A  swift, 
delirious  sort  of  Italian  dance  in  6-8  time. 

Tardando  (Ital.  tar-dan -do).  Lingering, 
retarding  the  time. 

Tartini,  Giuseppo,  1692-1770.  One  of  the 
very  greatest  violinists  of  the  18th  century. 
He  was  the  founder  of  a  new  school  ofviolin 
playing,  and  of  a  new  system  of  harmony. 
He  was  the  discoverer  of  the  so-called  "  Com- 
bination tones."  He  was  also  a  most  dis- 
tinguished teacher,  sought  by  pupils  from  all 
countries.  He  was  also  an  excellent  com- 
poser, and  wrote  over  200  concert  pieces  for 
his  instrument,  the  best  known  of  which  is 
the  still  renowned  "  Devil's  sonata." 


a  ale,  a  add,  a  arm,  e  eve,  6  end,  1  ice,  ' 


ill,  o  old,  o  odd,  6  doz'e,  00  moon,  Q  lute,  \\.  but,  u  Fr.  sound 
68 


TAS 


DICTIOXARY. 


THI 


Tastatlir  (Ger.  tas-tii-toor).  The  keyboard 
of  the  organ  or  piano-forte. 

Ta«te  (Ger.  tiis-te).  The  touch  of  any  instru- 
ment.    Hence  the  key. 

TastO  solo  (Ital.  tas-to  so  -lo).  One  key 
alone  ;  in  organ  or  piano  music  this  means 
the  parts  in  unison,  without  harmony. 

Tauliert,  Ernst  E.,  born  1S38.  Critic  and  com- 
poser in  Berlin. 

Taubert,  \Vm.  C.  G.,  born  181 1.  Pianist  and 
conductor  of  the  Royal  Opera  and  orchestra 
m  Berlin.     Composerof  no  great  significance. 

Tausisr,  Carl,  1841-1871.  Born  in  Warsaw. 
One  of  the  very  greatest  of  all  pianists,  with 
a  technique  so  absolutely  above  all  dilTicul- 
ties  and-o  perfect  as  to  defy  criticism,  and  an 
innate  fire  and  firce  hardly  surpassed  by  the 
great  Liszt  himself,  whose  pupil  he  was. 
This  fiery  vigor  was  subdued  and  tempered 
by  his  intellectual  tendencies  and  attain- 
ments, for  Tausig  was  an  earnest  stud  nt  of 
philosophy,  and  a  lo\-er  of  all  higher  intel- 
lectual pursuits.  He  was  also  an  admirable 
teacher. 

Teehnic,  skill  or  ability  in  the  mechanical  part 
of  any  art.  Fiaiio-fa>-te  ti'cknic,  the  perfect 
use  of  the  fingers  ;  pedal  tcchnic,  proper  use 
of  the  feet  ;  vocal  technicy  correct  use  of  the 
voice. 

Tetlosco   (Ital.  te-das'-ko).     In    the    German 

style. 

Te  «lpuni  laiidanius  (Lat.  ta  da-fin  law- 
da'-mils).  "We  praise  Thea,  O  God,"  an 
old  hymn  of  praise. 

Teleilianii,  George  P.,  1681-1767.  Born  in 
Magdebirg.  Was  46  years  conductor  in  Ham- 
burg. Played  organ,  piano,  violin  and  other 
instruments.  Was  a  highly  educated  man, 
and  a  teacher  and  composer.  Developed  a 
great  musical  interest  in  Hamburg;  wrote 
many  operas  there,  and  also  much  instru- 
mental music. 

Temperament,  is  a  system  of  compromises 
by  means  of  which  twelve  tones  in  an  octave 
are  made  to  do  duty  in  place  of  about  forty- 
eight  which  would  be  necessary  to  perfect 
intonation  in  all  keys.  Mathematically  stated, 
temperament  makes,  for  ex'ample,  the  major 
thi;d  equal  to  four-fifths  divided  by  two  oc- 
taves. That  is,  3-2X1-2X3-2X3-2X1-2X3-2 
=  81-64=5-4.  Temperament  is,  therefore,  a 
system  of  imperfect  tuning  peculiar  to  the 
piano  and  org  in,  in  which  all  intervals  except 
the  unison  and  octave  are  more  or  less  im- 
perfect. Its  advantages  are  the  simplicity  of 
the  key-board  of  the  twelve  keys  to  an  octave 
in  place  of  forty-eight.  Music  itself  is  writ- 
ten without  respect  to  temperament, 

TempestOSO  (Ital.  tem-pes-t0'-z5).  Tem- 
pestuous, stormy,  boisterous. 

Tempo  (Ital.  tam'-po).  The  time,  the  move- 
ment. The  moiement  of  music  is  approxi- 
mately indicated  by  means  of  Italian  terms, 
which  refer  generally  to  the  unit  of  time,  so 
that  slow  movements  may  yet  have  quick 
notes  in  them.  Reissmann  divides  tempos 
into  three  classes:  Si.ow,  i-ncluding  Largo^ 
Gyiive^  Ailagio^  Le7ito,^n<\ Larghetto^  which 
here  stand  in  progressive  order  of  speed,  the 
slowest  first.  Medium,  "  going,"  W «(/««/(•, 
Andantin",  Modcraio^  Allegretto.  Quick, 
Alleg'O^  I'ivacf,  ViTacissiino^  Presto,  and 
Prestissimo.     Theorists  are  not  agreed  as  1 3 


whether  Larghetto  is  faster  than  Largo,  or 
jl  ndantino  faster  than  A  ndnnte,  but  modern 
usage  is  as  here  indicated.  For  the  meaning 
of  the  difl"erent  terms  look  in  the  proper  jd.ace. 

Teiiebrae  (Lat.  tan'-e-bra).  Darkness,  a 
Catholic  service  in  holy  week. 

Tenerameilteiltal.  ten-er-ii-man  -te).  Ten- 
derly, dtdicately. 

TeiiereSBZa  (Ital.  t8n-5-rat-tsa).  Tenderness, 
softness,  delicacy. 

TeilOl',  the  highest  male  voice.  Tenor  robusto 
is  a  strong  tenor. 

Tenor  <',  the  C  next  below  middle  C. 

TeniltO  (Ital.  te-noo'-to).  Held,  sustained, 
held  down  its  full  time. 

Ter  (Lat.  t6r).     Thrice,  three  times. 

Terpandei",  a  great  Greek  poet,  composer 
and  theorist,  lived  about  the  7th  century,  B.C. 

Terschak,    Adolf,     Rom    1832.      Flute    vir- 
tuoso.    Lives  in  V'ienna. 
Tertia  (Lat.  tPr-shi-a).     Third,  tierce. 
Terz  (Ger.  tarts).    A  third. 

Terzetto  (Ital.  tfir-tsaf-to).  A  short  piece, 
or  trio,  for  three  voices. 

TescUner,  G.  W.  Bom  1800.  Teacher  of 
singing  in  Berlin.  Accomplished  mu-ician 
and  indefatigable  investigator,  and  collector 
of  old  music,  of  which  he  has  published  much, 
especially  songs,  and  valuable  vocal  studies. 

TeStO  (Ital.  tas'-to).  The  text,  theme  or  sub- 
ject. 

Tetraeliorcl.  a  system  or  scale  of  four  tones. 
An  instrunrent  producing  four  tones. 

Text,  the  words  of  a  song,  or  opera. 

ThalberjJ,  Sigismund,  was  born  at  Geneva  in 
1812,  and  died  in  Italy  in  1871.  He  was  a 
brilliant  piano-forte  virtuoso,  and  invented 
the  peculiar  i-tyle  of  playing  which  consists 
in  carrying  a  melody  supported  by  the  pedal, 
while  playing  a  rapid  accompaniment  in  ex- 
tended arpeggios.  He  was  greatly  admired 
as  an  executant  in  this  peculiar  style,  but  oc- 
cupied himself  very  little  with  the  works  of 
masters,  and  was  by  no  means  a  great  inter- 
pretative or  creative  artist.  His  compositions 
are  now  little  used. 

Thema   or  Theme   (Ger.    ta-ma).     The 

principal  melodic  subject  in  a  work.  An  air, 
which  is  afterwards  varied. 

Thematic  'Work,  means  literally,  work  on 
motives  taken  from  the  theme  ;  it  is  now  ap- 
plied to  any  elaboration  of  motives,  whether 
those  of  the  principal  theme  of  the  piece  or 
not.     See  Chapters  I.  and  II. 

Theory  of  Mlisie,  includes  Sound,  the 
science  of  musical  tone  ;  Tonality,  the  doc- 
trine of  scales  and  keys  ;  Harmo?iy,  the 
doctrine  of  chords  and  chord-successions. 
Coiinterf'oint,  voice-relation  ;  Fu^iie,  the 
logical  development  of  a  subject  ;  Form,  the 
symmetrical  arrangement  of  the  parts  of  a 
work  ;  Orchestration,  the  proper  method  of 
employing  and  combining  instruments  ;  Tech- 
nics, the  principles  of  correct  performance, 
and  perhaps  /Esthetics,  or  the  principles  of 
the  beautiful. 

Thibailt,  Anton,  F.  G.,  1772-1840.  Professor 
in  Heidelburg  University.  Was  a  connois- 
seur in  music,  and  wrote  a  valuable  book  on 
"Purity  in  Musical  Art." 


a  ale,  a  ad'',  '>'  zrm,  o  ez'e,  e  end,  i  ice,  I  ill,  o  old,  o  odd,  6  dove,  00  moon,  u  lute,  u  but,  ii  Fr.  sound 

69 


Tin 


DICTIO^NTARY. 


TOT 


Til ir<l,  an  interval  between  any  tone  of  the  scule 
and  the  next  but  one  above  or  below. 

Thiele,  Carl  I-.,  1816-1848.  Organist  in  Berlin, 
distinguished  for  superior  technic  and  the  im- 
aginative quality  of  his  pl.iyin."'.  Left  many 
important  works  for  his  instrument,  wh  ch 
are  the  most  difficult  legitimate  organ  pieces 
yet  produced. 

Thomas,  Ambroise,  C.  L.,  born  1811.  Distin- 
guished French  opera  composer,  and  director 
of  the  Paris  Conservatory.  His  work  best 
known  in  this  country  is  "  Mienon."  He  has 
also  written  instrumental  music. 

Thomas.  Theodore,  born  in  East  Frisia  in  1835. 
Has  been  a  violinist  and  conductor  in  New 
New  York  since  1847.  He  developed  and 
trained  the  finest  orchestra  yet  seen  in  Ameri- 
ca, with  which  he  made  extended  concert 
tours  for  many  years.  At  the  establishment 
of  the  Cincinnati  College  of  Music  in  1877,  he 
was  called  to  be  its  director,  but  resigned 
early  in  1880 and  returned  to  New  York.  He 
is  a  very  superior  conductor,  possessing  re- 
maikable  pjwer  of  commanding  his  forces 
and  making  ihemrealize  his  ideals,  which  arc 
very  high,  his  readuigs  of  great  works  pos- 
sessing an  unusually  imaginative  quality,  and 
producing  a  remarkable  effect  on  audiences. 

Thomas.   St..   School  in  Leipsic.    An  old 

school  for  boys,  where  church  music  hns 
been  assiduously  cultivated  since  the  13th 
century.  It  retains  the  endowments  it  had 
before  the  Reformation.  Among  its  most 
distinguished  Cantori,  or  directors  and  teach- 
ers of  music  were  J.  S.  Bach,  Moritz 
Hauptmann  and  E.  F.  Kichter.  Its  choir  of 
pupils,  numbering  60,  provides  the  music  in 
the  c.ty  churches,  and  sings  motettes  every 
Saturday  p.m,  in  St.  Thomab'  church. 

Tichatsoheck.  J.  A.  Born  in  Bohemia  in 
1807.  A  remarkable  tenor  singer.  Held  the 
first  rank  for  many  years  in  Vienna,  Dresden 
and  elsewhere.  Retired  from  the  stage  in 
1870. 

Tiersch,  Otto.  Bom  1838.  Professor  of  Theory 
in  Stein's  Conservatory,  Berlin.  Has  pub- 
lished works  on  harmony  and  other  branches 
of  theory,  besides  contributing  many  articles 
to  musical  newspapers,  and  to  Mendel's  En- 
cyclopedia of  Music. 

Tietjens.  Therese,  1831-1S77.  Born  in  Ham- 
burg. Was  a  most  distinguished  prima  donna 
of  Her  '  Majesty's  'llieatre,  in  London,  and 
an  artist  of  the  highest  rank. 

Timbre  (Fr.  tahnbr),  quality  of  tone. 

Timpani  (Ital.  tem-pii'-ne).  The  kettle- 
drums. 

TiniOtheuS,  a  distinguished  Greek  musician. 
Born  446  B.C.  He  was  a  reformer,  and 
added  five  new  strings  to  the  seven-stringed 
lyre,  adding  also  to  the  harmonic  resources 
of  his  time  by  his  experiments  and  discoveries. 
For  this  he  was  banished  from  Sparta,  the 
sapient  rulers  of  those  parts  fearing  lest  these 
innovations  should  corrupt  the  morals  of  their 
youth. 

Tilictoris,  Johann.  Born  about  1435,  in  West 
Flanders.  Distinguished  theorist,  and  author 
of  the  first  Musical  lexicon.  Was  also  an  ex- 
celle.t  composer. 


Toccata  (Ital.  to-kli  -tiil.  An  obsolete  form  of 
composition  for  the  organ  or  piano-forte,  re- 
quiring brilliant  execution. 

Todi.  Maria  F.,  1748-1793.  A  distinguished 
Portuguese  singer.  Sang  in  the  principal 
capitals  of  Europe  in  the  important  operas  of 
her  day. 

Tortt,  J.  A.  W.  Born  1833.  One  of  the  best 
living  organists.  Is  organist  and  teacher  in 
Stettin.  Has  composed  much  instrumental 
music,  songs,  psalms,  a  symphony,  an  ora- 
torio, and  a  school  of  singing. 

Toepfcr,  J.  G.,  1791-1870.  Organist,  theorist, 
and  composer.  Teacher  in  the  Seminary  at 
Weimar.  Contributed  much  to  the  science 
of  crgan  building,  by  placing  it  on  a  scientific 
foundation,  to  which  end  he  devoted  ten. 
years  to  scientific  study. 

Tomascheck.  J.  W.,  1774-1850.  Bohemian 
composer,  pianist  and  teacher  of  high  reputa- 
tion. Wrote  a  symphony,  chamber  music 
and  smaller  works. 

TOIlllinS.  Wm.  L.,  vocal  teacher  and  conduc- 
tor, was  born  in  England  about  1844.  Studied 
music  in  the  Tonic  Sol-Fa  schools,  and  with 
G.  A.  Macfarren  and  Silas,  came  to  New 
York  in  1869,  and  resides  in  Chicago,  where 
he  holds  leading  rank  as  vocal  conductor. 

Tone,  a  musical  sound.  A  sound  of  determin- 
ate pitch,  and  consequently  of  regular  vibra- 
tions. 

Tonart    (Ger.    ton'-art).     Key  ;   as  key  of  D, 

key  of  C. 

Tonfarbe  (Ger.  ton-far'-be).  Tone-color,  or 
ti)iib>-c.  The  quality  of  tones.  Timbre  de- 
pends upon  the  number  and  relative  intensity 
of  over-tones  present  in  the  sound. 

Tonic,  the  key-note.  Speaking  by  ear,  the 
ionic  is  that  tone  of  a  scale  or  key  which 
makes  the  best  ending  or  point  &f  repose. 
Mathematically,  it  is  the  tone  from  which  all 
the  others  in  the  key  are  determined,  as  shown 
in  the  article  Key. 

Tonic  Sol-Fa.     The  name  of  a  new  and  very 

simple  English  notation  for  vocal  music,  based 
on  the  fact  that,  in  singing,  pitches  are  dettr- 
niined  by  their  relation  in  key,  and  not  from 
melodic  intervals  or  absolute  pitch.  Besides 
the  notation,  the  system  also  includes  a  new 
and  very  much  improved  method  of  teaching 
music,  by  cultivating  the  musical  perceptions 
more  than  is  generally  done.  See  John  Ciir- 
wcn. 

Tonknnst  (Ger.  ton-koonst).  The  art  of 
Music. 

Tonleitei*  (Ger.  ton'-li'-ter).     Scale. 

Tone-painting,  representing  scenes  or  emo- 
tions by  means  of  tones. 

Torelli.  Guiseppe,  one  of  the  first  violin  virtu- 
osi in  Italy.  A  few  years  earlier  than  Corelli. 
Died  1708.  Originated  the  v-iolin  concerto  ; 
wrote  much  chamber  music. 

Tottniann,  Albert,  born  1837.  Violinist  and 
musician.  Lives  in  Leipsic.  Is  now  writer 
on  musical  subjects,  and  teacher  of  theory 
and  seslhetics. 


a«/e,  a  ad.i^  a  arm^  e  eve,  o  end,  1  ice,  1  ill.  o  old.  o  odd.  o  dove.  00  moon,  u  /«/<?,  ii  but,  ii  Fr.  sound 


70 


TOU 


DICTIONARY. 


UXP 


Tourjee,  Eben,  Mus.  Doc,  the  head  of  the 
New  England  Conservatory  of  Music  at  Bos- 
ton, was  born  at  Warwick,  R.  I.,  June  i, 
1834.  Studied  music  young,  and  early  be- 
came a  teacher,  especially  of  choir  singing. 
He  founded  the  N.  E.  Conservatory  in  1867, 
which  has  had  a  remarkable  success.  Dr. 
Tourjee  has  great  ability  as  an  organizer,  and 
unlimited  enthusiasm.  It  was  under  his 
efforts  that  the  great  Peace  Jubilee  choruses 
were  formed,  numbering  no  less  than  10,371 
members  in  actual  attendance. 

Traetta,  Tomaso,  1727-1779.  A  renowned 
opera  composer  of  the  Neapolitan  school. 

Transition,  a  change  ;  as  of  key,  or  style,  or 
expression. 

Traii*!i])osing;  Instruiiionts,  those  which 

play  from  notes  higher  or  lower  than  the 
actual  sound.  All  these  instruments  play 
from  notes  in  the  key  of  C.  "  IVMnstruments" 
play  every  thing  a  vi'hole-step  lower  than 
wiitten.  Those  "in  D"  flay  one  degree 
higher.  "  In  A,"  ,a  minor  third  lower.  "  In 
Ki"  a  minor  third  higlier.  Bass  instru- 
ments are  usually  written  as  they  play.  The 
transposing  instruments  are  tlie  clarinets, 
cornets,  trumpets,  trombones,  and  horns. 

Traviata,  La,  (triive-ii'-tU),  opera  by  Verdi. 

TreniaiKlO  (Ital.  trii-miin'-do).     Tremolo,  or 

vil)rating. 

TreillOlaildo  (Ital.  trii-mo-lan'-dO).  Vibra- 
ting. Chords  marked  treiu.  are  played  as 
shown  iu  Appendi.x.     (See  "Abbreviations.") 

Tremolo  (Ital.  tra  -mo-lo).  A  note  or  chord 
made  to  quiver,  or  shake. 

Treniulailt,  a  contrivance  in  the  organ  for 
producing  tremolo, 

Tretbar,  Charles,  was  born  in  Brunswick  iu 
1832.  At  present  a  prominent  member  of  the 
house  of  Steinway  &  Sons,  in  New  York, 
and  the  author  of  some  very  ingenious  ."nd 
instructive  analytic  programmes  of  classic 
symphonies  and  chamber  music. 

Triad,  a  chord  of  three  tones,  which  nre  always 
a  fundamental  and  its  third  and  fifth. 

Triailjjle.  a  small  three-sided  steel  frame, 
which  is  played  upon  by  being  struck  with  a 
rod. 

Tl'il!,  a  rapid  vibration  between  a  chief  note 
and  its  au.xiliary  above.  See  Embellishments 
in  Appendix.  ■  ' 

Trio  (Ital.  tre'-o).  A  composition  for  three 
voices,  instruments,  or  parts.  A  soft  digres- 
sion in  simple  binary  forms.     See  Chap.  XIII. 

Triplet,  three  notes  of  equal  duration  per- 
formed in  a  unit  of  time,  or  an  aliquot  part 
thereof. 

Triple  time,  triple  measure.  Measure, con- 
sisting of  three  units  or  pulses,  the  first  ac- 
cented. 

TritOlie,  a  term  in  harmony  signifying  the 
augmented  fourth,  or  the  fourth  .and  seventh 
of  the  key,  which  must  not  b-;  heard  together, 
except  under  certain  limit.ations. 

TroiJlba  (Ital.  trom -bii).  A  trumpet,  also  a 
reed  stop  in  the  organ. 

TrODJUBiel  (Ger.  trom'-mel).  The  military  tor 
snare)  drum. 


Trombone,  a  very  powerful  instrument  of  the 
trum|)et  specie,,  having  a  lube  eight  or  ten 
feet  long,  with  a  sliding  piece,  by  means  of 
which  it  is  lengthened  or  shortened,  and 
thereby  its  fundamental  is  changed. 

Trovatore,  II,  opera  by  Verdi. 

Trouhartonrs.  the  bards  and  poet-musicians 
of  Provence,  about  the  tenth  century. 

Trnmpet,  a  brass  instrument  of  a  brilliant 
tone.  Compass  abovit  two  octavesand  a  lialf. 
An  8ft.  reed-stop  in  the  organ. 

TseliaikOWSky,  Peter.  Born  1840.  Rus- 
sian composer  of  reputation  ;  is  teacher  of 
composition  in  the  Moscow  Conservatory. 
Has  written  songs,  piano-forte  music,  sym- 
phonies and  operas,  and  a  piano-forte  con- 
certo. 

Tsellireh,  the  family  name  of  si.^  brothers,  the 
oldest  of  whom  was  born  in  1S08,  all  of  whom 
were  excellent  German  musicians. 

Tuba  (Lat.  tu'-biil.  A  trumpet.  The  bass 
trumpet.  An  organ  stop,  of  which  the  tuba 
mirabilzs\<,  the  most  powerful  kind. 

Turea.  alia  turea  (Ital.  toor-ka).  In  Turk- 
ish style. 

Turkish  musie,  is  mostly  of  a  wild  and 
noisy  character,  based  on  keys  not  admitting 
of  harmonic  treatment  according  to  our  ideas. 

Turn,  a  grupetto.  See  Embellishments  in  Ap- 
pendix. 

Turini,  F.,  i.^go-1656.  Italian  church  composer 
and  Ic.rned  contrapuntist. 

Tutta  la  forza  (Ital.  toot  -ta  la  fur-tsii).  All 
the  force,  as  loud  as  possible. 

Tutte  eorde  (Ital.  toot'-ia  kor  -da).  AJI 
the  strings.  These  words,  or  the  abbrevi- 
ation T.  C.  or  expression /rf  rfjr^/*',  indicates 
the  discontinuance  of  the  soft  pedal  of  the 
piano-forte. 

Tutti  (Ital.  toot'-te>.  All.  Used  in  orchestral 
and  vocal  music  after  solo  passages. 

Tye,  Chris.,  distinguished  English  Church  com- 
poser of  the  first  part  of  the  i6th  century. 

Tympanum  (Lat.  tim'-pan-um).  A  timbrel, 
a  drum. 

ITeberganjJ,  transition. 

I^golino,  Vincenzo,  a  distinguished_  Italian 
teacher  and  composer  of  churcli  music,  in  the 
latter  half  of  the  i6th  century.     Died  1626. 

ITlriell,  Hugo,  1827-1872.  One  of  the  most 
gifted  composers  of  the  present  time.  Wrote 
symphonies  and  an  opera,  but  succumbed  to 
poverty  and  unfavorable  circumstances,  and 
failed  to  fulfil  his  early  promise. 

Unibreit,  Carl  Tho.,  1763-1829.    Distinguished 

German  organist.  Published  valuable  choral 
books. 

Una  corda  (Ital.  oon-ii  kor-diO.  One  string. 
This  direction  iu  jjiano  music  recpdres  the 
use  of  the  soft  pedal.     It  cds  at /^f    corde. 

ITnda  Maris  (Lat.  tin  -dii  mii-risl.  Wave  of 
the  sea.  An  organ  slop  ofa  tremulous,  w.ivy 
effect,  a  set  of  very  slender  pipes  tuned 
slightly  sharper  than  the  others,  thus  produc- 
ing w.ives  or  beat. 

I'liisonO  (Ital.  oon-i-so-no).  K  unison,  in 
unison,  two  or  more  sounds  having  the  same 
pitch. 

I'n  poelielliiio,  a  very  little. 


a  ale^  n.  add^  ii  arm.  o  e-je^  e  cnd^  I  ice^  \  til,  o  old,  o  odd,  0  dove,  oo  moon,  \\  l;if>-,  'i  b:if,  li  Fr.  s''und 


T- 


uxu 


DICTIONARY. 


VIO 


BJn,  Una  (Ital.  oon,  oon -ii),    One,  a.     UnPoco^ 

a  little. 
Up  Beat,  the  last  beat  in  the  measure. 

Urban.  F.  J.  Born  1838,  in  Berlin.  Excelleiit 
musician  y.nd  superior  singini  teacher.  His 
instruction  book  on  this  subject  is  highly 
prized. 

Ut  (Fr.  oot).  The  note  C  ;  the  syllable  origi- 
nally applied  by  Guido  to  the  note  C,  or  do. 

Ut   beniol  (Fr.  oot  ba-mol).     The  note  C  flat. 

Ut  tliese  (Fr.  oot  di-az).     The  note  C  sharp. 

Ut  S«upra  (Lat.  ut  su-pra).  As  above,  as  be- 
fore. 

Vacoai,  Nicr-ln.  i7gi-:84g.  Italian  composer 
of  operas  and  church  music. 

ValOtti.  F.  A.,  1697-1780.  Learned  Italian 
musician  and  composer  of  church  music. 

Valse  (  Fr.  vals).     A  waltz. 

Valse  cle  i^alon  (Fr.  vaise  d8  sa-lonh).    A 

waltz  for  parlor  playing,  anJ  not  for  dancing. 
See  Lesson  XX. 

Van  deit  iilheyn,  M.,  1721-1783.    The  most 

renowned  organist  and  carillon  player  of  the 
i8th  century.     Lived  40  years  in  Ghent. 

Vai'iations,  repetitions  of  a  theme  or  subject 
in  new  and  varied  aspects,  the  form  or  out- 
line of  the  compo?ition  being  preserved  while 
the  different  passages  are  ornamented  and 
amplified.    See  Lesson  VI. 

Vaudeville  (Fr.  vo-de-vel').  A  country  bal- 
lad or  song,  a  roundelay  ;  also  a  simple  form 
of  operetta  ;  a  comedy,  or  short  drama,  inter- 
spersed with  songs, 

Vecclli,  Orazio,  a  distinguished  Italian  com- 
poser of  the  i6th  centuiy,  and  one  who  did 
much  toward  the  development  of  dramatic 
music. 

Velata  (Ital.  va-la'-taj.  Veiled  ;  a  voice  sound- 
ing as  if  it  weie  covered  with  a  veil. 

Velocity,  rapidity.  For  principles  of  velocity 
see  INIason's  Piano  Technics. 

Veloee_  (Ital.  ve-lo'-tshe),  Veloceniente 

(ve-lo-tshe-man  -tej.     Swiftly,  quickly,  in  a 
rapid  time. 

Velo<»i.ssiniO  (Ital.  ve-lo-tshes'-se-mo).  Very 
swiftly,  with  extreme  rapidity. 

Venetian  School.  Venice  was  an  import- 
ant musical  center  as  early  as  1400.  Its  great- 
est musical  progress  was  made  under  the 
influence  of  the  great  Netherlander,  Adrian 
Willaert,  kapellmeister  at  St.  Mark's  Cathe- 
dral, who,  with  his  pupils  and  successors, 
formed  what  is  known  in  musical  history  as 
the  Venetian  School. 

Venl  Haneti  spiritu^.  "  Come  Holy 
Spirit,"  a  hymn  sung  at  the  "  Benediction'' 
in  the  R.  C.  service, 

Ventil  (Ger.  ven-tel).  A  valve.  In  organ 
building  the  name  ventil  is  applied  to  large 
valves  closing  important  wind-trunks,  thus 
shutting  off  an  entire  department  of  the  or- 
gan from  its  wind  supply. 

Veraeini,  F.  M.,  1685-1750.  Italian  violinist, 
next  to  Corelli,  the  best  of  his  time. 

Verdelot,  Ph.,  end  of  the  15th  and  first  part 
of  the  16th  centuries.  Noted  Belgian  contra- 
puntist. 


Vei'di,  Guiseppe,  was  born  in  Busseto,  Itsly, 
in  1813.  He  is  a  prolitic  composer  of  Ital. an 
operas,  of  which  the  best  known,  in  liis  earlier 
style,  is  "  II  Trovatore,"  a  work  popular  on 
account  of  its  pleasing  and  effective  melodies, 
but  poor  in  harmonic  and  contrapuntal  treat- 
ment, and  lacking  in  truth  of  dramatic 
characterization.  In  these  points  he  has 
greatly  improved  in  his  later  opera,  "  Aida," 
in  which,  as  in  his  great  Requiem  Mass,  he 
shows  the  influence  of  the  modern  German 
school. 

Verliulst,  J.  T.  H.,  bom  t8i6.  Lives  in  Am- 
sterdam.    Talented  conductor  and  composer. 

Vernier,  J.  A.,  b->in  1769,  in  Pans.  Harp  vir- 
tuoso, and  composer  for  his  instrument. 

Verset  (Fr.  ver-sot).  A  little  verse  ;  a  name 
applied  to  short  lyric  pieces  for  the  organ. 

Vervoitte,  C.  J.  Born  1822.  French  musi- 
cian and  composer  of  church  music.  Able 
conductor  of  church  music,  and  a  learned 
antiquary. 

Viardot-Garcia,  Paulini  Michelle  Ferdi- 
nande,  was  born  in  Paris  in  1S21.  She  was 
one  of  the  best  singers  of  our  time,  and  of  all 
times.  She  was  especially  renowned  as  a 
dramatic  singer.  Lives  in  Paris  as  teacherof 
singing. 

Vibrato  (Ital.  ve-bra'-to).  A  strong,  vibra- 
ting full  quality  of  tone  ;  resonant. 

Victoria,  T.  L.  Bom  in  Spain  about  1540. 
Lived  in  Italy.  One  of  the  greatest  masters. 
Wrote  much  church  music. 

Vierlinjr,  George,  was  born  in  Frankenthal  in 
1820.  He  is  a  gifted  and  most  accomplished 
musician,  and  the  composer  of  numerous 
songs  and  choruses,  besides  instrumental 
music,  including  overtures  and  a  symphony. 
One  of  his  greatest  works  is  ''  The  Rape  of 
the  Sabines,"  written  for  chorus,  solos  and 
orchestra,  which  has  contributed  much  to 
raise  his  reputation, 

Viliotean,  G.  A.,  important  writer  on  music. 
Accompanied  Napoleon  I.  to  Egypt  in  1798, 
and  investigated  the  origin  and  development 
of  Egyptian  and  oriental  music. 

Vinae,  V.,  1835-1872.  Bohemian  composer, 
conductor  and  teacher.  Wrote  church  and 
chamber  music,  and  an  opera. 

Vinci.  L.  1690-1734.  Neapolitan  opera  com- 
poser and  conductor  of  note. 

Viola,  a  tenor  violin,  an  instrument  similar  in 
tone  and  formation  to  the  violin,  but  larger  in 
size,  and  having  a  compass  a  fifth  lower. 

Viol  da  ganiba  (Ital.  ve-ol  de  gam'-ba). 
Lcg;-7u'oly  an  instrument  formerly  much  used 
in  Germany,  but  nearly  obsolete.  It  was  a 
little  smaller  than  the  violoncello,  furnished 
with  frets  and  five  or  six  strings,  and  held 
between  the  legs  in  playing,  hence  its  name, 

Viola-    d'aniore  (Ital.  ve-o'-lii  d'a-mo'-re). 

An  instrument  a  little  larger  than  the  itiola, 
furnished  with  frets  and  a  greater  number  of 
strings,  some  above  the  fingerboard  and  some 
below.  'I'he  name  is  also  given  to  an  organ 
stop  of  similar  quality  to  \.\\^  gaiytha  or  salic- 
ional. 


a  ale.,  a  aiid^  U  arm,  e  eve.,  6  end,  \  ice,  1  ill,  o  old,  o  odd,  G  dove,  00  tnoon,  u  lute,  u  but,  U  Fr.  sound 

72 


VIO 


DICTIONARY. 


WAL 


Violin,  a  well  known  stringed  instrument  hav- 
ing four  strings,  and  played  with  a  bow.  It 
is  the  most  perfect  musical  instrument  known, 
of  brilliant  tone  and  capable  of  every  variety 
of  expression.  When,  or  by  what  nation 
this  important  instrument  was  first  invented 
is  not  at  present  known. 

Tioloncello  (Ital.  ve-5-16n-tshar-lo).  The 
large  or  bass  violin;  the  name  is  also  applied 
to  an  organ  stop  of  small  scale  and  crisp  tone. 

Viola  I'ltal.  ve-6-la).  A  tenor  or  alto  violin. 
Its  four  strings  are  c,  g,  d'  and  a  . 

ViOloilO  (Ital.  ve-(5-lo-no)  or  Violon,  the 
double  bass,  the  largest  of  the  string  family. 
The  'cello  is  the  little  violon.  Violin  is  a 
feminine  diminutive  of  viola. 

Virginal,  a  small  keyed  instrument,  much 
used  about  the  lime  of  Queen  Elizabeth,  and 
placed  upon  a  table  when  played  upon.  It  is 
supposed  to  have  been  t-lie  origin  of  the 
spinet,  as  the  latter  was  of  the  harpsichord. 

Virtnoso  (Ital.  ver-too-o'-zo).  A  skillful  and 
masterly  performer  upon  some  instrument. 

Vivier,  E.  Bom  1821.  French  horn  player 
and  composer. 

Vivo  (Ital.  ve'-v6).     Animated,  lively,  brisk. 

Vocalize  (Ital.  v6-ka-lez).  An  e.xercise  for 
the  voice. 

Vocalise,  to  practice  vocal  exercises,  using 
vowels  and  the  letter  A  sounded  in  the  Italian 
manner  (a)  for  the  purpose  of  developing  the 
voice,  and  of  acquiring  skill  and  flexibility. 

Voce  (Ital.  vo'-tshC).     The  voice. 

Voce  Flehile  (Ital.  v5-tsh6  fla'-be-le).    A 

weeping  voice. 

Voce  rti  Petto  (Ital.  vo'-tshe  de  pat'-to). 
The  chest  voice,  the  lowest  register  of  the 
voice. 

Vogel,  F.  W.  F.,  distinguished  Norwegian 
organist  and  teacher,     ts.  1807. 

Vogfl,  Heinrich.  Born  1845.  Bavarian  tenor 
singer  of  high  rank. 

Vogl,  Theresa,  wife  of  H.  Born  1845.  Also 
singer  in  Munich  opera.  Both  she  and  her 
husband  are  admirable  interpreters  of  the 
chief  roles  in  Wagner's  operas. 

VieuxtempS,  Henri,  born  in  Belgium  in  1820, 
is  one  of  the  most  renowned  violinists  of  the 
French  school.  He  has  composed  much  for 
his  instrument,  and  is  professor  of  the  violin 
at  the  Brussels  Conservatory. 

Viotti,  Giovanni  Battista.  1753-1824.  A  re- 
nowned master  of  the  violin  and  the  founder 
of  the  modern  school  of  violin  playing.  He 
wrote  many  concertos  for  the  violin,  and  much 
chamber  music. 

Vittori,  Loreto,  a  renowned  Italian  singer, 
composer  and  poet  of  the  latter  part  of  the 
16th  and  the  first  past  of  the  17th  centuries. 

Vivaldi,  Antonio,  a  distinguished  Venetian 
violinist  and  composer  of  "the  latter  half  of 
the  17th  century. 

Vosjl.  J.  M.,  1794-1822.  Distinguished  opera 
singer  in  Vienna,  who  introduced  many  of 
Schubert's  songs  to  the  public. 

Vogler,  G.  J.  Abbe,  1749-1814.  Theorist,  com- 
poser and  organist,  much  admired  in  his  time, 
but  of  no  great  significance  in  his  art. 

Volante  (Ital.  v6-lan-tel.  Flying;  a  light  and 
rapi  1  series  of  notes. 


Volckmar,  Wm.,  Dr.,  born  1812.  Able  pian- 
ist, organist,  theorist  and  composer.  His  or- 
gan school  has  permanent  value. 

Volkniann,  Robert,  born  1815.  One  of  the 
best  livingcomposers.  Has  written  symphon- 
ies, chamber  music,  vocal  and  piano -forte 
music. 

VOSS,  Ch.,  born  1815.     Piano  teacher  in  Paris. 

Writer  of  popular  pieces  for  piano-forte. 
Vox  (Lat.  vox).     Voice. 

Vo.V  Iiuniana  (Lat.  vox  hu-mU  -nii^.  Human 
voice;  an  organ  reed  stop  of  8  ft.  tone,  in- 
tended to  imitate  the  human  voice,  which  it 
sometimes  does,  though  very  imperfectly. 

Vox  Angelica  (Lat.  vox  an-gel'-I -ka).  An 
organ  stop  of  8  ft.,  usually  a  free  reed. 

Vuillaunie,  J.  B.,  1798-1875.  The  gre.itest  of 
a  large  family  of  distinguished  French  violin 

makers. 

Vll)]»ius,  M.,  1560-1621.  Cantor  in  Weimar, 
and  composer  of  church  music. 

Von  IkVeber,  see  Weber. 

Voiles  IVerk  (Ger.  fOl-les  vark).    The  full 

organ. 

Voicing,  the  operation  of  improving  the  tone 
of  reeds,  pipes,  or  piano-hammers.  In  reeds 
this  is  done  by  bending  the  tongues  in  certain 
ways,  so  as  to  make  the  reed  speak  more 
quickly,  and  produce  a  better  tone  ;  \\\ pipes, 
by  regulating  the  admission  of  the  wind,  the 
size  of  the  mouth,  etc.  ;  pianos  are  voiced  by 
softening  the  hammers  until  harsh  over-tones 
are  suppressed.  In  all  voicing  the  principal 
difficulty  is  to  secure  evenness  or  uniformity 
of  quality. 

Voix  Celeste  (Fr.  vwa  sa-lgst).  An  organ 
stop  producing  a  wavy  effect,  on  the  same 
principal  as  the  Unda  Claris. 

Volti  !>iullitO  (Ital.vool-tesoob-e-t6\  Turn 
over  quickly.  In  old  music  this  or  the  initials 
V.  S.  frequently  occur  at  the  bottom  of  a  page. 

Vorspiel  (Ger.  for-spel).  A  prelude,  an  in- 
troductory movement  or  overture. 

Voluntary,  an  organ  or  choir  piece  introduced 
without  announcement. 

Wachtel,  Theodore  (vakh'-tel).  Born  1824 
in  Hamburg.  Was  son  of  a  coachman,  and 
himself  a  coachman.  Possesses  an  extraordi- 
narily fine  tenor  voice,  which  he  eventually 
trained  and  became  one  of  the  most  admired 
opera  singers  in  Europe. 

Wagner,  Johanna  (Jachmann).  Born  1828 
niece  of  Richard  Wagner.  One  of  the  finest 
dramatic  singers  of  this  century,  distinguished 
equally  as  singer  and  actress. 

Wagner,  Richard,  one  of  the  greatest  masters 
who  has  appeared  in  dramatic  music.  Born 
in  1813.     See  Chap.  LI. 

Wallace,  Wm.  Vincent,  violinist,  pianist  and 
composer.  Born  in  Ireland  in  1814.  His 
father  was  master  of  a  military  band,  and  the 
boy  showed  great  aptitude  for  it,  and  at 
fifteen  was  successfully  occupied  in  Dublin 
as  a  violinist.  Then  followed  concert  tours 
all  over  the  world.  His  operas  were  "Mari- 
tana,"  composed  in  1845,  "  I-urli'ie"  i860, 
etc.  He  also  composed  a  great  number  of 
piano  pieces,  many  of  which  were  popular  in 
their  day.     Died  1865. 


i,  «/c',  a  acid,  ii  arm,  e  eve,  e  end,  \  ice,  i  ///,  o  old,  u  odd,  6  dove,  00  moon,  u  lute,  u  Init,  U  Fr.  sound 


73 


WAL 


DlCTIOXATiY, 


WIN 


^Valtlier   von  <lu   Vogelweide,  latter 

part  of  I2lh  century  and  first  part  of  13th. 
One  of  the  greatest  and  most  prolific  of  the 
Minnesingers. 

W^arren,  George  Wm.,  organist,  composer, 
and  teacher  in  New  York,  was  born  about 
1830,  is  a  popular  composer  of  salon  pieces  for 
piano,  songs,  etc. 

"W^artel.  Pierre  F.  (var-telK  Born  1806.  Dis- 
tinguished French  singing  teacher.  Has 
been  also  a  fine  tenor  singer  at  the  Grand 
Opera  in  Paris.  Was  master  of  Nillson,  and 
many  other  prima  donnas. 

WasieleAVSUy,  Joseph  W.  Born  1822.  One 
of  the  first  pupils  to  enter  the  Leipsic  Con- 
servatory. Pupil  of  Mendelssohn,  Haupt- 
mann  and  David.  Excellent  violinist.  Best 
known  in  this  country  by  his  biography  of 
Robert  Schumann.  Has  written  other  equally 
valuable  works. 

Waiier,  Karl  (vowr),  1783-1857.  Distinguished 
bass  singer  and  actor  at  the  Royal  Opera  in 
Berlin. 

Webbe,  Samuel,  1740-1824.  Favorite  English 
composer  of  glees  and  catches. 

'W'^ebei',  Carl  Maria  von  (vii-ber),  1786-1826. 
One  of  the  most  important  of  the  Romantic 
School  of  composers.  His  opera  "  Der 
Freischutz,"  opened  a  new  epoch  in  that 
branch  of  composition.  His  instrumental 
compositions  were  also  original,  and  many  of 
them  of  very  high  rank.  He  was  also  a  res- 
pected writer  on  musical  subjects,  a  thorough 
musician,  and  an  excellent  pianist  and  con- 
ductor. 

■W^eber,  Constance,  wife  of  Mozart  and  cousin 
of  C   M.  von  Weber's  father. 

Webei*,  Dionys,  1771-1842,  a  highly  respected 
Bohemian  musician,  teacher  and  composer, 
and  one  of  the  founders  of  the  Prague  Con- 
servatory. 

Weber,  Gottfried,  1779-1839.  A  jurist  of  high 
rank,  but  still  better  known  as  a  musician, 
teacher  and  composer,  theorist  and  critic. 
His  great  work  on  musical  composition  has 
be'^n  translated  into  English. 

"Webster,  J.  P.,  an  American  melodist,  and 
author  of  popular  songs.  Born  about  1S30, 
and  died  in  Wisconsin  in  18/ 1. 

"W^eckerlill,  J.  B.  T.  Bom  1S21.  Praise- 
worthy French  composer  and  music  historian. 

W^eellies.  Thomas,  distinguished  English 
Madrigal  composer  of  the  latter  part  of  the 
i6th  century. 

Wehle,  Chat.  Born  1825  in  Prague.  Piano 
virtuoso  and  composer.  Lives  in  Paris, 
where  he  teaches  and  co-mposes. 

\%'eigl,  Joseph,  1766-1846.  Composer  of  operas 
and  conductor  in  Vienna. 

Weitzniailll.  Carl  Fnedrich,born  1808.  Com- 
poser, teacher  and  theorist  in  Berlin.  Best 
known  by  his  theoretical  and  historical  works. 
His  "  Manual  of  Musical  Theory,"  translated 
by  E.  M.  Bowman,  is  published  in  this.coun- 
try.    D.  1880. 

Wieclt,  Clara,  see  Clara  Schumann. 

W^iecli,  Marie,  daughter  of  Fr.  Wieck,  and  a 

distinguished  pianist. 


"Wieck,  Friedrich,  17S3-1873.  A  most  distin- 
guished musician  and  teacher.  Among  his 
pupils  were  his  daughter  Clara,  who  became 
the  wife  of  Robert  Schumann,  Schumann 
himself,  Fritz  Spindler,  Anton  Krause,  Hans 
von  Billow,  and  other  celebrated  musicians. 
His  two  daughters,  Clara  and  Marie,  became 
celebrated  pianists.  His  little  book,  "Piano 
and  Song,  how  to  teach,  how  to  learn,  and 
how  to  form  a  judgment  of  musical  perform- 
ances," should  be  in  the  hands  of  every  teach- 
er and  student  of  music. 

"Wiepreobt.  W.  F.,  1S02-1872.  Prussianmili- 
tary  bandmaster  of  great  distinction,  and  an 
excellent  composer  of  military  music. 

Wieiliawsky,  Henry,  1835-1880.  A  celeb-a- 
ted  Polish  violin  virtuoso  and  composer.  Not 
only  were  his  technical  attainments  extraor- 
dinary, but  his  interpretative  powers  were  of 
the  first  rank,  and  as  he  constantly  strove  to 
be  a  genuine  ai  list  rather  than  a  mere  execu- 
tant, he  commanded  the  highest  respect. 

"Wieiliawski,  Joseph,  brother  of  Henry,  was 
born  in  1837.  He  is  a  distinguished  pianist, 
teacher  and  composer,  and  has  rendered  great 
service  to  his  chosen  art,  especially  in  Mos- 
cow, where  he  taught  for  many  years.  He 
now  Fives  in  Warsaw. 

"Wilbye,  John,  was  a  distinguished  English 
ringing  teacher  and  composer  of  madrigals  at 
the  end  of  the  i6th  and  beginning  of  the  17th 
century. 

"Wilbel 111.  Carl,  1820-1873.  A  good  German 
director  of  singing  societies,  and  composer  of 
much  music,  especially  for  male  chorus.  His 
most  popular  song  is  "The  Watch  on  the 
Rhine.' 

Wilbeill,  Guillaume  Louis  Bocquillon,  1781- 
1842.  A  distinguished  French  singing  teacher, 
composer,  and  writer  of  theoretical  works. 
His  instruction  books  are  still  prized. 

Wilbelnij,  August  Emil  Daniel  Friedrich 
Victor,  was  born  in  Usiiigen,  in  1845.  He  is 
ihe  most  popular  violinist  since  Paganini.  He 
is  a  virtuoso  and  artist  of  the  highest  rank, 
and  is  distinguished  equally  for  his  pure, 
broad,  noble  tone,  the  unsurpassable  perfec- 
tion of  his  execution,  and  his  admirable  in- 
terpreiation  of  masters  of  all  times  and  styles. 

Willaert,  Adrian,  one  of  the  most  prominent 
musicians  and  composers  of  the  i6th  century. 
He  was  chapelmaster  in  St.  Mark's  Church 
in  Venice,  and  was  the  founder  of  the  Vene- 
tian school.  He  was  a  superior  teacher  and 
wrote  a  great  amount  of  church  muiic.  His 
most  celebrated  pupils  were  Cyprian  de  Rore 
and  Orlandus  Lassus. 

W^illiliers,  Rudolph,  was  born  in  Berlin,  in 
1821.  He  was  an  excellent  pianist,  a  pupil  of 
Hummel.  He  w;is  also  a  pupil  of  Fr.  Schneider 
in  theory,  and  became  a  thorough  musician 
and  a  good  composer.     He  died  in  1878. 

Winter,  Peter  von,  1754-1S25.  Bavarian  con- 
ductor and  opera  composer  of  high  reputation. 

Wincl-chest,  that  part  of  an  organ  which 
supports  the  pipes,  and  cnntains  a  wind- 
chamber  and  the  valves  and  pallets,  for  sup- 
plying the  pipes. 

"Wind-trunk,  a  large  pipe  for  conveying 
wind  from  the  bellows  to  a  wind-chest. 

"Winterfel*!,  Carl  G.,  1784-1852.  Distin- 
guished jurist  and  a  very  prolific  and  reliable 
musical  historian  of  Berlin. 


a  alcy  a  add,  a.  a>-:n^  o  eve,  (5  end,  1  ice,  1  ///,  o  old,  6  odd,  o  dove,  00  moon,  u  lute,  u  but,  u  Fr.  sound 

74 


WOE 


DICTIOiN'AUY. 


ZWI 


Woelfl,  Joseph,  1772-1814.   Piano  virtuoso  and 
composer,  known  chiefly  as  a  rival  of  Bee- 
thoven's in  Vienna.     His  playing  wras  much 
admired. 
"tVohlf  hart,  HeinHch.    Born  1797.    Excellent 
teacher   of    the    piano-forte,    and    author   of 
numerous  hiuhly  prized  instruction  and  text 
books,  which  have  h.-»d  a  wide  circulation. 
^Volf.  a  beat  or  dissonance  in  tuning,  occasioned 
by    the   interference  of  imperfectly   attuned 
vibrations.     The  sourness   or   dissonance   of 
imperfectly  attuned  chords. 
^Volff,   Edward.     Born    1816.     Piano    virtuoso 

and  composer.     Teacher  in  Paris. 
^Vollt",  Heinrich.     Born  1813.     Violin    virtuoso 

in  Frankfort,  and  composer. 
^Volflf",  Hermann.     Born   1845.     Composer  and 
writer.      Editor  of  the    Berlin  New  Journal 
of  Music. 
"W^olfram  von  Kschenbaoli,  one  of  the 
greatest  of  the  German  Minne-singers.  Died 
abour  1220. 
"Wolfsolin,  Carl,  pianist,  composer,  conductor 
and  indefatigable  promoterof  chamber  music, 
■was  born  in  Germany  in  1830.     He  came  to 
this  country  about  1S60,  and  settled  in  Phila- 
delphia, where  he  gave  chamber  concerts  for 
many  years.     In  1S73  he  came  to  Chicago  and 
became  thedirectorof  the  Beethoven  ^-ociety. 
Mr.  Wolfsohn  has  three  times  played  in  pub- 
lic the  entire  series  of  Beethoven  s  33  sonatas 
for  piano-forte,   and  all    the   most  important 
■works  of  Chopin  and  Schumann. 
Wollenliaupt,  Herman  A.,  a  German  pianist, 
and  composer  of  popul.ir  salon  pieces.     Born 
at  Skendlitz  in  1827.     Was  a  pupil  of  Haupt- 
mann.     Residing   for  several   years    in     New 
York,  where  he  died   about  1865.     Several  of 
his   pieces  met  with  great  success,  the  most 
famous  of    them    being    "  The    Whispering 
Winds."  and  "  Valse  Styrienne.'' 
Woi'Ii,    Henry   C,  an  American   composer  of 
popular  songs,  who,  until  1S61,  was  a  journey- 
man   printer.     A  lucky  hit  in  a  war-song  led 
to  the  production  of  many  more,  which  also 
were  successful.     Work   is   not   a    musician, 


and  hence  ha.s  not  been  able  to  develop  his 
talent,  as  he  otherwise  might,  and  produce 
works  of  lasting  value. 

Zactiail,  Fr.  W.,  1663-1721.  Excellent  organist, 
composer  and  theorist.  Was  teacher  of  G. 
F._  Handel,  in  Halle. 

Zarlilin,  Giuseppe,  1517-1590.  A  renowned 
Venetian  composer  and  theorist,  chapel  mas- 
ter at  St.  Mark's  church.  His  theoretical 
works  were  of  great  importance,  and  mark 
the  beginning  of  a  new  epoch. 

Zart  (Ger,  tsiirt).     Tenderly,  softly,  delicately. 

Zeleilka,  J.  D.,  1681-1745.  Bohemian  com- 
poser of  church  and  instrumental  music.  Has 
a  liii;h  reputation  among  connoiseurs. 
Zelllicr,  L.  A.  Born  1823.  Theorist,  composer 
and  teacher,  and  Secretary  of  the  Vienna 
Conservatory.  A  much  honored  musician. 
Xelter,  Carl  F.,  1758-1832.  Professor  in  the 
Acad"my  of  Arts,  and  Director  of  the  Sing- 
ing Academic  in  Berlin.  A  composer  of 
merit.  Intimate  friend  of  Goethe,  and  more 
or  less  acquainted  with  Scliiller,  Fichte, 
Hegel,  Schleirniacher,  Kijrner,  Beethoven, 
Haydn,  etc.  The  first  teacher  of  Mendels- 
sohn. 

Ziea;ft'lrt,  Florence,  M.  D.,  pianist  and 
teacher,  President  of  the  Chicago  Musical 
College, was  born  in  Jever,  in  North  Germany, 
in  1841,  began  his  studies  with  Stiehl,  and 
pursued  them  later  at  Leipsic,  where  he  grad- 
uated in  1863.  Came  to  Chicago  in  1S67, 
where  he  occupies  a  leading  position. 

Zieilllioll  (Ger.  tsem' -  likh).  Tolerably, 
moderately. 

Zin^Sarcsa  (Ital.  tsen-ga-ra'-za).  In  the  style 
of  gypsy  music. 

ZitlK'l'n,  an  instrument  which  may  be  called 
a  compound  of  the  harp  and  the  guitar.  The 
harmonies  of  the  first  named  instrument  are 
produced  from  it,  and  it  possesses  the  sweetest 
notes  pertaining  to  both,  but  not  great  com- 
.  pass. 

iK'wiSChen-Spiel  (Ger.  tsve-shen-spell.  In- 
terlude played  between  the  verses  of  a  hymn. 


Si'ale^  a  add^  a  arin^  o  evc^  (^  end^  I  ice^  1  ill,  o  old,  o  odd,  6  dozie,  00  moon,  vi  lutcy  u  but,^  U  Fr.  sound 


XoTE.  The  thanks  of  the  editor  arc  due,  and  hereby  tendered,  to  Prof.  John 
C.  Filhnore,  of  IVIilwaukce,  for  important  assistance,  amoifnting  to  the  preparation 
of  almost  the  entire  biographical  matter  in  the  last  twelve  i>ages  of  this  work. 

7S 


ADDEJ^DA, 


A  second  edition  of  "  How  to  Understand  Music  "  being  required  much 
sooner  than  was  expected,  the  opportunity  is  talven  for  remedyini?  as  far  as  pos- 
sible tlie  more  noticeable  omissions  of  the  Dictionary.  Several  new  biographical 
articles  are  added,  and  a  large  number  of  foreign  words,  principallyGerman, 
which,  although  not  generally  recognized  as  strictly  musical  terms,  are  occasion- 
ally met  with  in  the  works  of  Beethoven,  and  very  often  in  those  of  Schumann 
and  the  later  German  writers.  As  these  terms  are  liable  to  embarrass  students 
not  familiar  with  German,  it  was  thought  advisable  to  include  them  here.  In  its 
present  form,  including  the  addenda,  it  is  thought  that  this  work  includes  all  the 
terms  and  directions  to  be  met  with  in  the  works  of  the  classic  and  the  principal 
modern  writers.  Many  typographical  errors  of  date  in  the  biographical  articles 
in  the  body  of  the  work  have  also  been  corrected.  The  editor  would  take  it  as  a 
favor  if  the  reader  will  notify  him  by  postal  card  of  any  errors  lie  may  happen 
to  notice  as  he  consults  the  work. 

EvANSTON,  III.,  Jan.  l.j,  1881. 


Aber  (Ger.  ii -bSr).     But. 

AcoentliatO  lltal.  iit-tshiin-too-a  -to).  Dis- 
tinctly and  strongly  accented. 

Acciiratezza  dtal.  iik-koo-rii-tat -ziii.  Ac- 
curacy. 

Aenssei'St  (Ger.  ois-sarst).  Utmost,  ex- 
treme. 

Affetazione  (Ital.  iif-fet-ta-ts5-5 -ne).  An 
artificial  or  affected  style. 

AfflittO  (Ital.  iif-flet'-to).  Afflictedly,  sorrow- 
fully, with  mournful  expression. 

AftVettaildo  dtal.  iif-fret-tan-do).  Hurry- 
ing, accelerating  the  time. 

Africailie,  1/  (lUf-rl-kiin).  Opera  by  Meyer- 
beer, 1849. 

Agitirt  (Ger.  ii-gi-tert  ).     Agitated,  hurried. 

Aida  (ae'-dii).     Opera  by  Verdi,  1871. 

Allarg'ando  (Ital.  iil  liir-giin  -do).  Enlarg- 
ing, broadening,  /.  e.  more  slowly  and  em- 
phatically. 

Allegraiiieiite  (Ital.  al -la-gra-man  -te.) 

Gaily,  joyfully,  quickly. 

Allegrissinio  (Ital,  al-la-gres  -se-mo).  Ex- 
tremely quick  and  lively. 

Alle  (Ger.  al-16).     All. 

Alternativo  (Ital.  iil-ter-na-te'-vo).  Alter- 
nating one  movement  with  another. 

Aniahilita  (Ital.  ii-ma-be  -le-ta).  Tender- 
ness, amiability. 

AllCOra  (Ital.  an-ko  -rii).  Once  more,  repeat  ; 
also,  yet,  still. 

Anfailg  (Ger.  an'  -tiing).     Beginning. 

Ankuilft  (Ger.  an-koonft).     Arrival,  coming. 

Ardaineilte  (Ital.  ar-da-man  -te).  Ardently, 
with  warmth. 

Aroionioso  (Ital.  ar-rn6-n(?-o -z5).  Con- 
coidant,  harmonious. 

Arpa  ( Ital.  ar'-pa1.     The  harp. 

Arpeggiando  dtal.  :ir-pad-je-an'do).  Play- 
ed in  arpeggio,  in  imitation  of  the  harp. 


Aspiratamente  (Ital.   as-pe-rii-ta-man'-te. 

From  aspirare,  to  take  breath  audibly).  With 

effort,  with  emotion. 
Aufgeregt  (Ger.  ouf-ga-regt).     Agitated. 

Aullebend  (Ger.  ouf-lab  -end).  Reviving,  re- 
turning to  life  ;  a  tempo. 

AuS  (Ger.  ous).     From,  out  of. 

AllSSer  (Ger.  ous  -sar).     Out  of,  beside. 

AusdrneksVOll  (Ger.  ous  -drooks-fol).  Ex- 
pressive. 

Ballnifessig  (Ger.  bal-mils-sig).  In  dance 
movement. 

Itallo  (Ital.  bal  -16).     A  dance  or  dance  tune. 

Battllta  dtal.  ba-too-ta).  A  measure,  in 
measured  movement;  a  daituta^m  correct 
time. 

Belebt  (Ger.  be-liibt').     Animated,  sprightly. 

Ite!i«<*hleuiiigeii  (Ger.  be-shloi  -ne-ghen). 
To  accelerate,  to  hasten. 

BOMtilllint  (Ger.  bes-timt').  Distinct,  deter- 
minate. 

Bewegt  (Ger.  be-vagt  ).  Animated,  rather 
fast. 

Bewegung  (Ger.  be-va  -goong).  Motion, 
movement. 

Bobeilliail  Girl.     Opera  by  Balfe,  1835. 

Brabaill.  John  (brahm).  A  famous  tenor 
singer,  born  in  London,  1774.  Studied  with 
Leoni  .and  Rauzzini,  made  his  debut  in  1796, 
In  opera  B.  was  for  many  years  the  composer 
of  his  own  parts,  which  were  universally 
popular.  Had  great  versatility,  and  wrote 
many  extremely  successful  iongs.    Died  1856. 

Bl'ioso  dtal.  bre-o  -zo).      Lively,  vigorously. 

Bull.  Ole  Bornemann,  the  Norwegian  vioUnist, 
was  born  at  Bergen,  Feb.  5,  1810.  He  was 
designed  for  the  church,  but  his  love  for 
music,  and  his  success  in  a  concert  given  dur- 
ing his  career  as  a  university  student,  deter- 
mined his  devoting  himself  entirely  to  music. 
From  about  1830  his  life  was  spent  in  concert 
tours  throughout  Europe,  and  after  1852  in 
most  parts  of  the  U.  S.     He  had  a  home  at 


&  ale,  a  add,  a  an 


e  eve.,  e  end,  i  ice,  I  ///,  o  old,  6  odd,  6  dove,  00  vioon,  u  lute,  li  but,  U  Fr.  sound 

76 


CAL 


ADDENDA. 


GEil 


Cambridge,  Mass.,  as  wfeU  as  at  Madison, 
Wis.,  and  Bergen,  Norway,  and  lived  by 
turns  in  all  of  them.  He  died  greatly  beloved 
by  a  large  circle  of  friends,  in  iSSo.  As  a 
violinist  he  was  very  eminent,  and  e.vtremely 
popular  with  the  common  people. 

Calniandosi  (Ital.  kiil-miia-du  -ze).  Becom- 
ing gradually  more  calm. 

CaiitaiulO  (Ital.  kiin-tiin  -do).  In  a  melodious, 
sinking  style. 

Capriooiosailieiite  dtal.  ka-pre-tshe-O-za- 
man'-te).     Capriciously. 

Carmen.     Opera  by  Bizet,  1875. 

Cary.  Annie  Louise.  This  eminent  and  charm- 
ing contralto  was  born  in  Maine  in  1S4D.  Her 
fine  voiceearly  obtained  for  her  a  local  recog- 
nition, and  she  pursued  serious  vocal  studies 
with  Mr.  John  Dennett  at  Portland.  After 
some  years  successful  e,\perience  as  a  concert 
singer,  she  went  abroad  and  studied  in  Paris 
and  Italy.  Miss  Cary  attained  her  earliest 
eminence  as  an  oratorio  singer.  Since  1869  or 
1870  she  has  been  e.xtremely  successful  in 
English  and  Italian  opera.  Her  voice  is  of 
great  puiity  and  depth,  and  beautifully  culti- 
vated; and  her  phrasing  is  refined  and  satis- 
factory. She  is  one  of  the  greatest  singers 
of  our  time. 

Cliaqiie  Mesure  (Fr.  chak  ma-zUr  ).  Each 
measure;  frequently  used  for  the  pedal  in 
piano  forte  music. 

ClarinO  (Ital.  kla-re-no),  Clarioti.  A  small, 
or  octave  trumpet;  also  a  4  ft.  organ  reed 
stop,  tuned  an  octave  obove  the  trumpet  stop. 
The  term  is  also  used  to  indicate  the  trumpet 
parts  in  a  full  score. 

Coda  (Ital.  ko -da).  The  end;  a  fe\y  measures 
added  near  the  end  ofa  piece  of  music,  to  make 
a  more  effective  close. 

CoiTOllte  (Ital.  kor-riin-tu)  or  Coranto.  An 
old  dance  tune  in  3-2  or  3-4  time. 

Crouch.  F.  Nicholls,  a  composer  of  many  popu- 
lar songs  and  ballads  during  the  second  quar- 
ter of  the  present  century,  of  which  the  best 
known  is  "  Kathleen  Mavourneen."  Came 
to  America  in  1845. 

l>aniliation  of  Faust.     Opera  by  Berlioz, 

1846. 

l>aniroScll,  Leopold,  a  distinguished  violinist 
and  musical  director,  was  born  in  Posen,  in 
1832,  where  his  musical  studies  were  begun. 
Was  educated  in  medicine  at  Berlin,  and  in 
1854  was  a  practicing  physician  in  his  native 
town.  In  1855  a"d  ^^856  he  appeared  at  Mag- 
deburg and  Berlin  as  solo  violinist,  with  great 
success.  He  presently  became  conductor  at 
the  Stadt  theater  in  Posen.  In  1871  he  came 
to  New  York  as  conductor  of  the  "Anon' 
Society,  and  has  since  resided  there.  Is  at 
present  (18S1)  conductor  of  the  Oratorio  So- 
ciety, of  syniphonv  concerts,  etc.  As  a  con- 
ductor D.  is  distinguished  for  energy  and 
vigor  of  conception.  Is  a  warm  advocate  of 
the  Liszt-Wagner  "  music  of  the  future,"  al- 
though a  successful  exponent  of  the  classic. 
Is  also  a  composer  of  violin  and  orchestral 
works. 

I>elieatissiniaiiiente  (Ital.  del-e-ka-te  - 
se-mii-man  -te).     With  extreme  delicacy. 


l>eux  (Fr.  dii).     Two. 
nifllrile  (Ital.  de-fe  -tshe-lel. 


I  Ital.  dez-tiin-tsa).  Distance,  space 
dez-tSn-ta-man  -te). 
Devoutly,  solemnly. 


Growin; 


faint,- 


To  awaken,  to 


Ex- 
born 
with 
mar- 


Difficult. 


a  ale,  a  add,  a  arm,  e  eve^  e  end,  i  ice,  1  ///,  o  old,  o  odd,  u  dov. 

77 


Distanxa 

between. 

l>iMtiiitauieiite   (Ital. 
Clearly,  distinctly. 

I>ivoto  (Ital.  de-vo  -to). 

l>OCll(Gcr.  dfjkhj.     Yet. 

I>o«'tor  of  Aloantsira.   Opera  by  Eichberg, 

1S62. 
Due  (Ital.  doo-e).     Two  ;  in  two  parts. 
l>urchaus  (Ger.  dfirkh'-ous).     Throughout. 
Gileild  (c;er.  il  -endj.     Quick,  speedy. 
Kiiifacll   (Ger.  in'-fakh).     Simple,  plain,  un- 

ornamented. 
Eiuigen  (Ger.  In-i-ghen).     Some,  any. 
Elegrantemente  (Ital.  el-e-gan-te-man'-t*^}. 

Elegantly,  gracefully. 

Eli.     Oratoria  by  Costa,  1855. 
Energieaniente  (Ital.  en-er-je-kii-man  -te). 

Energetically,  forcibly. 
EnersiSCll   (Ger.  Sn-ar  -ghish).      Energetic, 

with  empliasis. 
EntselllOSSeulieiJ  (Ger.  ent-shl6s'-s'n-hlt  1. 

Resoluteness,  firmness. 
El'inattet  (Ger.  ar-miif-tet) 

weary. 
Erstes  (Ger.  erst -es).     First. 
Erwaolieu  (Ger.  ar-vUkh  -en). 

be  aroused. 
Espressione   (Ital.  es-pras-se-6-ne). 

pression,  feeling. 
Essipolf.  Annette,  virtuoso  pianist,  was 
in  Russia  in  1853,  studied  principally 
Mr.  Leschetitzki,  whom  she  afterwards 
ried,  and  made  her  debut  with  distinguished 
success  in  1870  or '71.  She  visited  America 
in  1875,  where  she  charmed  all  hearers  by  the 
refinement,  grace  and  poetry  of  her  playing 
no  less  than  by  her  consumraaie  virtuosity. 
M  me  Essipoff  resides  chief!  v  at  Vienn;;,  and 
plays  in  all  the  European  capitals. 
Estinto  (Ital.  es-ten-to).     Becoming  e.xtinct, 

dying  away. 
Estreniamente    (Ital.    es-trcl-mii-man -te). 

E.xtremely. 
Fatinitza  (fii-tin-et  -zii).     Opera  by  Suppe. 
Feme  (Ger.  fiir-ne).     Distance. 
Festlioli  (Ger.  (fesf-likh).     Festive,  solemn. 
Feurijj   (Ger.   foi  -rig^l.      Fiery,    ardent,   pas- 
sionate. 
Fillmore.   John   C.  a  highly  esteemed  mu- 
sician, piano  teacher  and  critic,  was  born  in 
Connecticut,  1843.     Studied  at    Oberlin    and 
Leipsic.     Was  for  q  years  professor  of  mu«ic 
in    Ripoii  College,    Wis.,    and  now  resides  in 
Milwaukee. 
Folgeii  (Ger  fol'-ghen).    To  follow.    The  fol- 
lowing, succeding. 
Fortsetzung  (Ger.  forf-set-soong).     .A  con- 
tinuation. 
Forza  (It.al.  fort'sa).     Force,  strength,  power. 
Fret  (Ger.  frH.     Free. 
CJebuildeu  (Ger.  ghe-bbon  -d'n).     Connected, 

syncopated. 
Geliender  (Ger.  ga -hen-derV     Going. 
Cjlehalteil    ^Ger.    ghehiilt  -en).      Held,    sus- 
tained.   

n,  u  lute,  ii  l>ut,  u  /•>.  sound 


■e,  00  v!Ot> 


GEM 


ADDENDA. 


MEP 


Cieniosseiier  (Gcr.  gS-mes-sen-er).  Meas- 
ured, precise. 

CJesailS  (Ger.  ghe-siing  ).  Singing;  the  art  of 
singing,  a  song,  melody. 

4jJesail^VOll  (Ger.  ghe-silng'-fol).  Songful  ; 
in  a  singing  style.     Cantabite. 

ttetrasen  (Ger.  ghe-tra  -g'n).  Well-sus- 
tained, carried. 

<jiIOCOll«lo  (Ital.  j6-I<on'-do).  Cheerful,  gay, 
merry. 

4]i^li«!i«aildo  (Ital.  gles-san'-dd).  Sliding.  A 
method ,of  playing  a  run  by  sliding  the  finger 
rapidly  along  the  keyboard  of  the  pianoforte, 
or  by  sliding  the  finger  along  the  violin  string. 

<i<ran  (Ital.  griin).     Great, grand. 
■dJraziosanieiite  (Ital.  gra-tsS-o-zii-man-tei. 
Gracefully,  smoothly. 

4)lr08se  (Ger.  gr6s-s6).  Major,  referring  to 
inteivals;  also,  grand  in  style. 

Out  (Ger.  goot).     Good,  well,  sufficiently. 

Halteil  (Ger.  hiil  -ten).     To  hold  back,  check. 

Hastig  (Ger.  has  -tig).     Hurrying,  hastening. 

HastinSI^S,  Dr.  Thomas,  one  of  the  pioneers  in 
American  music,  was  born  in  Washington, 
Ct.,  1784.  In  some  way  he  discovered  his 
talent  for  music,  and  began  to  teach  in  1806. 
His  first  book,  I\Insica  6rtc>'rt,  was  published 
in  1817,  and  in  1822  his  "Dissertation  on 
Musical  Taste."  He  was  the  sole  or  asso- 
ciate editor  of  some  16  books  of  church  music. 
As  a  man  he  was  studious,  retiring  and  lov  • 
able.  He  was  author  of  several  hymns  which 
are  still  in  use. 

Haiiptfiiatz  (Ger.  houpt  -satz).  Principal 
theme  or  subject ;   the  motive  or  leading  idea. 

HeinilicU  (Ger.  him  -likh).  Secretly,  quietly, 
calmly. 

Hoeohst  (hekst).     Highest,  utmost. 

lluebsch  (Ger.  heebsh).    Pretty,  handsome. 

IniperioSO  (Ital.  em-pa-r-e-o -zo).  Imperi- 
ous, pompous. 

Iniprovisata  (Ital.  em  pro-ve-zii  -tal.  Im- 
provised ;   in  a  fluent  and  off-hand  style. 

Ill<*Oll»iOlabile  (Ital.  en-kon-s5-la  -be-le). 

Ilinei'e  (Ger.  en -ner-e).  Inner;  as  the  inner 
voices,  or  parts. 

IlllliKk<^it  (Ger.  en  -nig-kit).  Inwardness, 
feeling. 

Illllig'Sten  (Ger.  en  -nigs-ien).  Most  fervent, 
most  devout. 

IlltilllO  (Ital.  en  -te-mo).     Inward  feeling 

IlltrodllzioiK^  (Ital.  en-tro-doo-tse-o  -ne}. 
An  introduction. 

Inversione  (Ital.  iSn-viir-se-o  -ne).  Inver- 
sion. 

Jagdlied  (Ger.  yagd'-leed).     Hunting  song. 

.ledeil  (Ger,  ya  -den).     Each,  every. 

Joseffy.  Raffaele(yo-sef  -fi).  Virtuoso  pianist, 
was  born  at  Miskolcs,  Hungary,  in  1S52.  He 
pursued  his  more  advanced  studies  with  Mo- 
scheles  at  Leipsic,  ard  afterwards  with  Tau- 
sig.  He  made  his  debut  in  1870,  and  at  once 
attracted  attention  by  the  daintiness,  uniform 
crispness,  and  brilliancy  of  his  playing.  His 
technique  is  superb,  and  his  phrasing  refined 
and    musical      He   visited   America   in  1879. 


where  he  ha<  been  very  successful.  lie  is 
rather  a  genre  pianist,  a  wonderfully  fine  per- 
former of  small  pieces,  than  an  interpreter  of 
broad  and  deep  works. 

Klagend  (Ger.  kla-g'nd).     Plaintive. 
-Kraft  (Ger.  kraft).     Power,  strength,  energy. 
lira'ftijs  (Ger.  kraf -tig).     Powerful,  vigorous, 
full  of  energy. 

Kliei'Zllilg  (Ger.  kiir'-tsoong).  Abbreviation, 
shortening. 

EifPVa  (Lat.  la'-vU).     The  left ;  the  left  hand. 

Jjailg;,  B.  J.,  distinguished  pianist,  organist, 
conductor  and  teacher,  was  born  at  Salem, 
Mass.,  in  1840.  Became  organist  in  church 
at  the  age  of  11.  In  1858  became  organist  of 
the  "  Handel  and  Haydn"  Society,  of  Bos- 
ton, a  position  he  still  holds.  Is  also  con- 
ductor of  the  "Cecilia"  and  "Apollo" 
Societies,  and  as  such  has  brought  out  in 
Poston  a  brilliant  list  of  master  works,  em- 
bracing the  principal  choral  works  of  Schu- 
mann, Mendelssohn,  Beethoven,  etc.,  and  in 
1880  l^erlioz's  "Damnation  of  Faust,"  for 
the  first  time  in  America.  Mr.  Langcccupies 
a  high  socid  position  in  Boston,  where  he 
has  so  long  held  leading  rank  as  concert  pia- 
nist, piano  teacher  and  musical  educator. 

Liarganiente  (Ital.  liir-ga-man  -te).  Large- 
ly, fully  ;  in  a  full,  free,  broad  style  of  per- 
formance. 

lit'beildig  (Ger.  lil  -ben-dig).     Lively,  quick. 

Lebhaf  tigkeit  (Ger.  lab-haf-tig-kit).  Live- 
liness, vivacity. 

I^eSIS^ndario  (Ital.  led-jen-dar -lo).  A 
legend. 

LiegSJ<'*'<?*!*Sl  (Ital.  led-jer-af-tsa).  Lightness 
and  agilitj'. 

JLejsnO  (Ital.  Ian  -yo).     Wood;  col  legno^  with 

the  bow  stick. 
Ijeicllt  (Ger.  likht).     Light,  easy,  facile. 
I.>ig'ato  (Ital.  le-gii  -to).     See  Legato. 

I^iiida  di  Chailiouiii  (de-tsha -moo-ne). 
(Jpera  in  3  acts,  by  Donize.ti,  1842. 

IjUllga  (Iial.  loon -giii.     Long. 

Lu!>>tig  (Ger.  loos  -tig).  Merrily,  cheerfully, 
gaily. 

.Uagic  Flute,  The  (Ger.  Die  Zauberfldie^ 
Ital.  II Flauto  Magko).  Opera  in  4  acts  by 
Mozart,  j  791. 

I?Ial  (Ger.  mal).  Times  ;  20  //?«/,  twenty  times, 
etc. 

Maroando  (Ital  mar-kiin -do).  I  i\t-,,.IpI 

MaroatO  (Ital.mar-ka'-to).  f         luarkea, 

accented,  well  pronounced. 

Marcatiiiiwinio  (Ital.  miir-ka- tes  -se-mo). 
Very  strongly  marked. 

Mayo,  Oscar,  was  born  in  Germany  in  1838. 
Studied  music  with  Fesca,  came  to  this 
country  in  1869,  and  resides  at  Evanston,  III. 
Is  a  piano  teacher,  a  good  musician,  and  a 
prolific  composer  of  instructive  and  pleasing 
pieces 

Melir  (Ger.  mar)      More. 

Mehrere  (Ger.  ma'-ra-re).  Mere;  compara- 
tive of  preceding. 

llephistopbeles.     Opera  by  Arrigo  Boito, 

1875. 


a  ah,  X\  add,  a  arjn,  e  ere,  e  end,  1  ice,  T  ?V/,  0  old,  o  odd,  6  dove,  00  moon,  u  lufc,  u  hut,  Ki.  Fr .  sound 

78 


MER 


ADD1■:^■DA. 


PRE 


]!U**rz,  Karl,  a  prolific  composer  of  piano  music, 
songs,  elc,  and  piano  teacher.  Was  bora  m 
Germany  in  183(1,  and  since  1861  professor  of 
music  in  Oxford  Female  College,  Oliio.  Is 
editor  ofBrainard's  Musical  World,  and  one 
of  the  most  instructive  and  widely-respected 
writers  upon  music  in  this  country. 

Mi«l.*>uniin«'r  Aijaflits"  I>r«'aiii.  Music 
by  Mendelssohn,  consisting  of  Overture, 
1826,  Nocturne,  and  1:  other  numbers,  1843. 

j^Iirclla.     Opera  by  Gounod,  1864. 

Mit  (Ger.  nut).      With,  by. 

Mceglicll  (Ger.  meg'-llkh).     Possible. 

HlOllli.  Wm.  H.,  organist,  and  composer  and 
arranger  of  church  music,  was  born  in  Lon- 
don in  1823.  In  1S74  was  made  professor  of 
vocal  music  in  King's  College,  and  occupies 
various  educational  relations.  .Was  one  ot 
the  editors  of  "■  Hymns,  Ancient  an  J  Mod- 
ern." 

Mooiiliifht  !i»Oliata.  A  name  often,  but 
foolishly,  applied  to  Beethoven's  sonata  m  C 
sharp,  Op.  27,  No.  2,  composed  in  1801. 

Moreiulo  (Ital.  mo-ran -do).  Dying  away, 
gradually  diminishing  in  tone  and  time. 

Mose  in  RsittO  ("Moses  in  Egypt'").  An 
oratorio  or  sacred  opera  by  Rossini,  1818. 

Moses.     An  oratorio  by  A.  B.  Mar.\-,  1841. 

Motiv  (Fr.  ino-tev).  Motive.  See  Chaps.  1 
and  X. 

i^IotO  (Ital.  md -to").  Motion,  movement  ;  con 
tiioia,  with  motion,  rather  quick. 

Mountain  Sylph.  Opera  by  John  F.  Har- 
nett. 

Movement.  Manner  or  rate  of  going.  Hence 
employed  as  name  for  any  piece  of  music,  or 
part  of  a  piece,  so  far  as  it  continues  in  the 
same  tempo.  Thus  a  sonata  has  three  or  four 
movements.  A  "number'''  (as  in  opera  or 
other  dramatic  work  )  frequently  consists  of 
several  movements,  which  in  performance  arc 
closely  connected. 

M.  S.     Mano  sittisira,  the  left  hand. 

Milliter  (Ger.  moon -t5r).     Lively,  sprightly. 

Naclllasseinl  (Ger.  niiUk-liis  -send).  Slack- 
ening. 

XaclitlaKer  in  tiiranada.  Das  (Gei. 
nakht-lU-ghPr  in  Grii-nii  -dii).  Opera  by 
Kreutzer,  1834. 

Xaeh-Hnd-nae.ll  (Ger.  niikh  oond  nakh). 
By  little  and  little,  by  degrees, 

Xoch  (Ger.  nokh).     Yet,  still,  more. 

Oberstininie  (Ger.  O-bSr-stim -me).  Treble, 

upper  voice  part. 
Onibl'e,    L'    (Fr.    lom-br).     Opera  by  Fiotow, 

1869. 
Orpliee  aiix  Knfers.    Opera  in  2  acts,  by 

Offenbach,  1S58. 

Orpli<?e  et  Kiiridiee.  Opera  m  3  acts  by 
Gluck,  1774. 

Orplieu.s.  Ol"  Orfeo.  Opera  by  Monteverde, 
1607.     Also  by  Gluck,  1762. 

Otiieilu    (Ital.    Otcllo,    o-tal-lo).     Opera    by 

Rossini,  1S16. 

Overblowing  is  the  production  of  a  higher 
than  the  natural  tone  of  a  pipe,  by  forcing  the 
wind.  In  the  flute  the  upper  octaves  are 
legitimately  so  produced.  In  the  organ  it  is 
apt  to  arise  when  too  much  wind  is  pumped 


into  the  bellows,  to    prevent  which  a   safety- 
valve  is  provided. 

Paine,  John  Knowles,  organ  virtuoso,  com- 
poser, and  professor  of  music  in  Harvard 
College,  was  born  at  Portland,  i.Ie.,  about 
1840.  Educated  in  Boston  and  with  Haupt 
at  Berlin,  and  since  about  1869  professor  at 
Harvard.  Is  author  of  an  oratorio,  "  St. 
Peter,"  an  elaborate  and  original  work,  per- 
formed by  the  Handel  and  Haydn  Societj  in 
1874,  two  symphonies,  string  quartettes,  a 
mass,  etc. 

Parker,  J.  C.  D.,  pianist,  organist  and  com- 
poser, was  born  at  Boston  about  1836.  Edu- 
cated there  and  at  Leipsic,  ;;nd  for  fifteen 
years  has  occupied  a  leading  position  in  the 
musical  life  of  his  native  city.  Is  organist  at 
Trinity  Church,  and  author  of  a  cantata  or 
oratorio,  "  Redemption  Hymn,''''  part-songs, 
etc. 

Passione  (Ital.  piis-sS-o'-ne).  Passion,  feel- 
ing. 

Pausa  (Ital.  (pou-za).     A  pause. 

Pedale  dtal.  pa-dii -le).  Pedal.  The  pedal 
keyboard  of  an  organ.  The  abbreviation 
"ped."  requires  the  use  of  the  pedal. 

Per  (Ital.  par).     For,  by,  through,  in. 

Petersilea.  Carlyle,  pianist  and  head  of  a 
school  of  music  in  Boston,  was  born  in  Boston 
in  1838,  learned  the  piano  with  his  father, 
who  was  a  good  teacher,  and  afterwards  stu- 
died abroad.  P.  has  rarely  rppeared  in  pub- 
lic,but  since  about  i87ohas  been  prominently 
engaged  as  a  piano  teacher   in  Boston. 

Pliantastisell  (Ger.  fan-liis  -tl-h).  Fantas- 
tic, fantastically. 

Pianissimo  (Ital.  pe-an-es'-sS  -  mo).  Ex- 
tremely soft. 

Pieeolo  dtal.  pi^'-ko-lo).  Small,  little.  A 
small  flute.  Also  a  2  ft.  organ  stop,  of  wood 
pipes. 

PiU-e-Piu  (Ital.  pe-oo  a  pe-00).  More  and 
nrore . 

Plaidy.  Louis  (pli'-dy)  celebrated  teacher  of  the 
pianoforte  and  author  of  a  book  of  "Tech- 
nics," was  born  in  1810  at  Wcmsdorf.  _  He 
was  for  many  years  a  professor  in  the  Leipsic 
Conservatory,  retiring  about  1871.  He  died 
in  Grimma,  1874. 

Poelietto  (Ital.  po-ka  t-to).     A  little. 

Poeeliissinio  (Ital.  po-ke's-se-mo).  A  very 
little,  as  little  as  possible. 

Poet  and  Peasant.    Opera  by  Suppd. 
Poi-a-poi  (Ital.  po-e  ii  p6-e.)      By  degrees. 
Popolare  dtal.  po-po  Hi  -re").     Popular. 
Postilion  de  IjOiijumeaii,  Lc.     Opera  by 

Adam,  1S36. 

Prseeis  U^'Cr.  pra-ses  ).     Precise,  precisely. 

Preeedeilte  (Ital.  pra-tshe-dan -te).  Pre- 
ceding. 

Preeiosa  (pra-tshe-o  -zii).  Music  to  drama, 
by  Weber,  1820. 

Preeipitandosi  (Ital.  pra-tshe-pe-iiin-do  - 
ze). 

PreeipitOSO  dtal.  pra-tshe-pe-to -zd).  Hur- 
rying, precipitate. 

Preeiso  (Ital   pra-tshe-zo).     Precise,  exact. 

Prestissimo  (Ital.  pras-tes'-se-mo).  Verj' 
quickly,  as  fast  as  possible. 


a  ale^  a  acid,  ii  arm,  e  eve,  5  end,  i  ice,  1  ///,  o  old,  o  odd,  6  dove,  00  moon,  u  lute,  u  hit,  ii  Fr.  sound 

70 


PRI 


ADDENDA. 


SPI 


PrinoipiO  Ital.  pren-tshe  -pi-u).  The  prin- 
cipal, tiie  leading  idea  or  part. 

Propliete,  Le(prd-fat  ).  Opera  by  Meyerbeer  ; 
libretto  by  Scribe.  1849. 

Piiritaiil,    I    (e    poo-re-ta'-ne).       Opera    by 

Bellini,  1835. 
t^uatre  (Fr.  kiitr).     Four. 
KaseU  (Ger.  riish).     Swift,  spirited. 

RailSoliend  (Ger.  roush-end).  Rushing, 
ro.iring. 

Repetizione  (Ital.  ra-pS-te-tse-o'-nS).  Rep- 
etition. 

Ki<*e,  Fenelon  B.,  Mus.  Doc,  director  of  the 
Oberlin  Conservatory  of  Music,  President  of 
American  Music  Teachers'  Association,  was 
born  at  Green,  Ohio,  in  1841,  educated  at 
Hillsdale  College,  Mich.,  graduated  at  Boston 
Music  School  in  1863,  entered  Leipsic  Con- 
servatory in  1S67,  was  appointed  Professor 
of  Music  in  Oberlin  College  and  Director  of 
the  Conservatory  in  1871,  where  he  has  suc- 
ceeded in  building  up  a  fine  school,  and  ex- 
ercises a  commanding  influence  in  favor  of 
good  music  and  sound  musical  education. 

Rieiizi  (re-ant'-se).     Opera  by  Wagner,  1840. 

Ki^OlettO  (re-go-lat'-to).  Opera  by  Verdi, 
185.. 

Kigore  (Ital.  re-go-re).  Rigor,  strictness, 
firmness. 

Kilasciaiiclo  (Ital.  re-la-she-iin  -do).  Rela.\- 
ing  the  time. 

RiliiOlutO  (Ital.  re-zo-Ioo -to).   Resolute,  bold. 
Risvegliato   (Ital.  res-vel-ye-a  -to).     Awak- 
ened, re-animated. 

Ritardare  (Ital.  re-tar-da-re).  To  retard, 
or  slacken  the  time. 

Riteiieilte  (Ital.  re-te-nan-te).  Detaining, 
holding  back  the  time. 

RitlllO  (Ital.  ret-  mo).  Rhythm,  cadence, 
measure. 

Roliert  le   I>ial>le.     Opera    by    Meyerbeer, 

libretto  by  Scribe,  1831. 

Romeo  and  Juliet.  Opera  by  Bellini, 
1829.     Also  a  sj'mphony  by  Berlioz,  1840. 

Root,  George  Frederick,  Mus.  Doc,  one  of  the 
most  distinguished  and  popular  of  American 
song  writers,  was  born  in  Sheffield,  Mass., 
Aug.  30,  1820.  At  an  early  age  he  became  a 
pupil  of  Dr.  Lowell  Mason  and  Mr.  Geo. 
Jas.  Webb.  In  1845  he  became  teacher  of 
singing  in  Rutger's  and  the  Spingler  Female 
Schools  in  New  York,  and  organist  of  Mercer 
St.  Church,  where  he  remained  for  ten  years. 
Hii  first  popular  song  w.is  "  Hazel  Dell," 
which  was  sung  and  whistled  the  country 
through.  This  was  followed  by  "Rosalie, 
the  Prairie  Flower,"  etc.  In  1860  he  became 
head  of  the  music  firm  of  Root  &  Cady  in 
Chicago,  where  he  still  resides.  During  th-; 
war  the  publications  of  this  house  were  uni- 
versally current.  Mr.  Root  wrote  many 
battle  songs,  elementary  singing  books,  can- 
tatas, etc. 

Root,  Frederic  JW.,  son  of  the  preceding,  was 
born  1846,  in  Boston.  Is  a  prominent 
teacher  of  singing,  composer  and  writer  about 
music,  in  Chicago. 

Ssiiteil  (Ger.  si'-t'n).  Timbrel,  strings  of  a 
violin. 

Sailft  (Ger.  sanft).     Soft,  mild,  smooth. 


Santley,  an  eminent  English  baritone  singer, 
born  in  183S. 

i^chalkliaft  (Ger.  shalk-haft).  Waggishly, 
playfully,  capriciously, 

Sclllliniiuerlied  (Ger.  shloom  -mer-leed). 
Slumber  song, 

(^cllltlSS  (Ger.  shloos).     The  end,  conclusion. 

Sellliell  (Ger.  shnell).     Quickly,  rapidly. 

Sclineller  (Ger.  shnel-ler).     Quicker,  faster. 

Sehwa»elier  (Ger.  shva -ker).  Fainter,  softer. 

Scli\vangesang;e  (Ger.  shviin  -gS-sang-e). 
"Swan  Songs;"  title  of  a  set  of  songs  by 
Schubert. 

Sell  11  mail II.  Clara  (Clara  Wieck),  the  greatest 
lady  pianist  who  has  yet  appeared,  was  born 
Sep.  13,  1819,  at  Leipsic,  and  learned  piano 
playing  from  her  father.  She  made  her  first 
public  appearance  as  pianist  at  the  age  of 
g,  and  three  years  later  made  an  extended 
and  highly  successful  concert  tour.  In  1840 
she  was  married  to  Robert  Schumann,  the 
composer.  M'me  Schumann  has  resided 
mainly  at  Dusseldorf,  and  as  late  as  the  end 
of  the  year  1880  played  in  public  in  various 
parts  of  Europe  with  the  greatest  success. 
Her  technique  is  remarkable,  and  the  artistic 
quality  of  her  playing  unapproachable;  in 
spite  of  her  age,  she  still  plays  with  great  fire 
and  feeling. 

Seiolto  (Ital.  she-ol-to).     Free,  light. 

>^eioltaiiieilte    (Ital.  she- 51  -  tii-man'-te). 

With    freedom,    agility;     easily,    the    notes 
being  rather  detached  than  legato. 

Seceo  (Ital.  sak'-ko).  Dry,  unornamented, 
chord  without  arpeggio. 

Secoildo  (Ital.  sa-kon-do).    Second,  a  second. 

>^egnO  (Ital.  san-yo).  A  sign:  al  segno^ 
return  to  the  sign  ;  dal  segno^  repeat  from 
the  sign. 

Segue  (Ital.  sa-gwe).  Now  follows, as  follows; 
also,  goon,  in  a  similar  manner. 

Seguente(Ital.  se-gwan-te).  Following,  next. 

Sell!"  (Ger.  sari.     Very,  much,  extremely. 

SellltSUClltVOll  (Ger.  san'-sookht-fol). 

Seite  (Ger.  si-tS).     Side,  p.ige,  line. 

Seloil  (Fr.  se-lijn).     According  to. 

Semiraillide  (sii-me-ra-mi  -de).  Opera  by 
Gluck,  1748;  IMeyerbeer,  1819;  Rossini,  1823. 

SeiUpiiee  (Ital.  sam-ple'-tshe).  Simple,  pure, 
plain. 

Sempre  (Ital.  silm -pre).   Always,  continually. 

SentimeiltO  (Ital.  sen-te-man'-to).  Feeling, 
sentiment,  delicaie  expression. 

Sforzaildo    (Ital.   sfor-tsan'-do).  (^       Fnrr-^rl 
SforzatoOtal.sfor-tsa-tO).  (        rorcea, 

one  particular  note  or  chord  to  be  empharized. 
SIneerita   (Ital.    sen-sa'-re-ta).     Sincerity, 

simplicity. 
Singliar  (Ger.  sing -bar).     That  may  be  sung. 
Sillgeild  (Ger.  sing-end).     In  singing  style. 
Sino  ( Ital.  se'-no).     To,  as  far  as,  until. 
Sleiltare  (Ital.  slen-tU'-re).     To  slacken. 
Soiliiambula,  La.     Opera  by  Bellini,  1831. 
Spieleild  (Ger.  speel'-end).     Playing. 
Spielei*  (Ger.  speel'-er).     Player. 


a  alcy  a.  add^  ii  arm^  6  eve,  5  cndy  \  ice,  1  ///,  o  old,  o  od{,  o  dive,  00  moon,  \l  lute,  li  biit^  li  Fr.  sound 

80 


STA 


ADDENDA. 


WEB 


Staocatissinio  dtal.  stLik-kii-tes-se-mo). 
Very  much  detached,  as  staccato  as  possible. 

^tark.  (Ger.  stark).     Strong,  loud,  vigorous. 

Jlitsi'riie   (Ger.  stiir'-ke).     Vigor,  force,  energy. 

!!»teis<'"rt<''*  (Ger.  sti  -ghend-en).  Ascending. 

^tilllllie  (Ger.  stim-me).  The  voice,  sound  ; 
also,  the  sound-post  in  a  violin,  etc.;  al>o,  a 
part  in  vocal  or  instrumental  music  ;  also,  an 
organ  stop. 

Strafi'  (Ger.  strafif).     Extended,  full. 

Strilljf  Itaild.  A  band  of  stringed  instru- 
ments only. 

SubitO     (It.nl.    soo'-be-to).        Quickly,    iinme- 

diately,  at  once. 
SusSuraiKlo  (Ital.  soos-soo-ran-dd).     Whis- 

pe.ing,  murmuring. 

Takt  (Ger.  tiiktX     Time,  measure. 

Tannl«">l.:ser  (tiin-hois-er).  Opera  in  5 
acts,  by  \\':jgner. 

Xhaypr,  Eugene  W.,  organist,  composer  and 
teacher,  was  born  in  Mendon,  Mass.,  in  1838, 
studied  in  Poston  and  afterward  in  Berlin, 
Made  a  successful  concert  journey  in  Ger- 
many as  virtuoso  organist,  and  has  since 
occupied  various  prominent  positions  in  Bos- 
ton, where  he  foimded  his  Organ  Studio  m 
1875.  Is  composer  of  a  mass,  many  organ 
works,  a  large  method,  etc.,  etc. 

Thorough  Bass.  The  art  of  representing 
chord-successions  by  means  of  bass  notes, 
and  figures  giving  the  accompanying  inter- 
vals; the  art  of  playing  from  such  a  bass. 
Heiice,  often  used  as  equivalent  to  the  word 
Harmony. 

Tie.  A  curved  line  connecting  two  successive 
notes  of  the  same  pitch,  to  show  that  the 
second  is  a  continuation  of  the  first,  and 
therefore  is  simply  prolonged. 

Ton  (Ger.  ton).  Tone,  sound,  voice  melody  ; 
also,  accent,  stress;  also,  pitch  of  any  note 
as  to  its  acuteness  or  gravity  ;  also,  the  key 
or  mode. 

Toriinndo  (Ital.  tor-nan -do). 

TostO  (,Ital.  tos'-to).     Quick,  swift,  rapid. 

Tow<'r  of  Babel.  Sacred  opera  by  Rubin- 
stein, 1875. 

Tranqilillo  (Ital.  tran-kwel'-lo).  Tranquil- 
ity, calmness,  quietness. 

Tre  eortle  (Ital.  triik«r'-de).     Three  strings. 

Means  that   the  soft  pedal  (one  string)  miist 
no  longer  be  held  down. 

Tristan  an«l  Isolde.       Opera  by   Wagner, 

TroiS  (Fr.  trwa).     Three. 

Tronipette  (Fr.  tronh-pat).  A  trumpet; 
also,  a  trumpeter;  also,  a  reed  stop  in  an 
organ. 

Troppo  (It.d.  trOp'-po).     Too  much. 

I'nilvoUruilg  (Ger.  oom'-kii-roong).  Inver- 
sion. 

Uniore  (Ital.  oo-mo'-re).  Humor,  caprice, 
whim. 

ITnd  (Ger.  oondl.     And. 

Unjsedllldij;-  (Ger.  oon-ghe-dool -digh).  Im- 
patiently. 

Unit  of  Time,  The  time  occupied  by  a 
single  rhythmical  pulsation  ;  the  primary  ele- 
ment of  the  measure  ;  a  beat.     See  chap.  vii. 


"^'ariaKioni  (Ital.  va-re-a-ts5-o'-ne).  Varia- 
tions. 

V«'rlauf  (Ger.  ff-r-louf  ).  The  lapse,  progres- 
sion, what  follows. 

V«'rsehiebHng  (Ger.  fer-she  -boong).  De- 
lay, lingering,  shifting.  In  German  music, 
ilie  soft  pedal. 

Viet  (Ger.  fel).     ^luch,  a  great  deal. 
Viert«'l  (Ger.  fer  -t'l).     Quarter  note. 
"^'igore   lltal.  ve-gO -re).     Vigor. 
Vigoroso    (Ital.    ve-go-ro -zo.i.      Vigorous, 

bold,  energetic. 
Vivaee  (Ital.  ve-vii -tshe).     Lively,  quickly. 

^'ivaoissinio  (Ital.  ve -ya- tshes -se-mo;. 
Very  livclj-,  extremely  vivacious. 

^'ivaeita     (Itai.    ve-va-tshe -ta).       Vivacity, 

liveliness. 

Vivente  (Ital.  ve-van'-tej.   Animated,  lively. 
Volkslied    (Ger.    folks -led).       A.    people's 
song.     A  simple  and  natural  melody. 

Volkston  (Ger.  folks-ton).  People's  song  ; 
a  simple,  natural  melody. 

Volta  (Ital.  vdl'-tiil.  Time;  also,  an  old  air 
peculiar  to  an  Italian  dance  of  the  same 
name, 

Vorher  (Ger.  for-hSr  ).      Before,  formerly. 

Vorigen  (Ger.  for  -e-ghen).  Former,  preced- 
ing. 

Vortrag  (Ger.  fdr-trag').  Execution,  deliv- 
ery, the  act  of  uttering. 

Vorzntragen  (Ger.  fort  -zoo-trii  ghen).  To 
deliver,  to  utter. 

Walkliere,  Die  (val-keer'-e).  "The  Val- 
kyrie," opera  by  Wagner,  1855. 

^Varren,  Samuel  P.,  organ  virtuoso  and  com- 
posei,was  born  in  Montreal,  in  1841,  early 
showed  unusual  talent  for  the  organ,  his 
father  being  an  organ  builder.  Held  position 
as  church  organist  at  the  age  of  12.  In  1861 
he  began  his  studies  in  Berlin  with  Haupt, 
Gustav  Schumann,  and  Wieprecht.  On  his 
return  to  America,  after  one  year  in  Montreal, 
he  removed  to  New  York  in  1865  as  organist 
of  Grace  Church,  where  he  has  since  resided. 
W.  is  one  of  the  greatest  organ  istsof  our  time, 
his  playing  being  remarkable  for  refinement 
and  musical  qua  ity  no  less  than  for  ease  and 
remarkable  technique.  His  repertoire  is  very 
large.  He  is  composer  of  many  original 
compositions,  as  well  as  arrangements. 

^Vebb,  Geo.  James,  teacher  of  singing  and 
organist,  w.as  born  in  Wilishire.  England, 
in  1803, studied  music  in  childliooil  (although 
intended  for  the  church),  learning  not  only 
the  pianoforte  and  organ,  but  also  singing, 
harmony  and  the  violin.  In  1830  he  came 
to  America  and  settled  in  Boston,  where  he 
became  colaboier  with  Dr.  Lowell  Mason  in 
teaching  and  the  production  of  musical  works, 
many  of  which  were  very  useful  and  suc- 
cessful in  their  day.  The  Boston  Academy 
of  Music  was  founded  in  1836,  with  Messrs. 
Mason  and  Webb  at  its  head.  W.  was  one 
of  the  earliest  conductors  of  symphony  and 
and  oratorio  performances  in  Boston,  and  for 
many  years  he  held  the  highest  rank  there 
as  teacher  of  the  piano  and  singing.  In 
1870  he  removed  to  Orange,  N.  J.,  and  com- 
menced his  teaching  in  New  York.  He  now 
resides  (1881)  in  New  York,  and  is  still  active. 


a  ale,  a  add,  a  arm,  e  ez'e,  e  end,  I  ice,  I  ///,  o  old,  o  odd,  o  dove,  00  rrooii,  u  lit/i-,  u  hut.  ii  Fr.  souna 

81 


WEI 


ADDENDA. 


ZWE 


'^Veiell   (Ger.  vikh).     Minor,  in  respect  to  keys 

and  mode. 
■^Veiter  (Ger.  vi -ter^.     More  distant,  btoader. 
"IVenitf  (Ger.  van'-ig).     Little. 

Wllitiilia;,  George  E.,  organist  and  composer, 
was  born  at  Holliston,  Mass.,  in  1837,  studied 
abroad  in  1862  and  1874,  between  which  times 
he  held  good  positions  as  organist  m  Boston. 
In  1878  was  appointed  organist  of  the  Cin- 
cinnati .Music  Hall,  a  position  he  still  holds. 
Has  composed  important  works  for  organ,  as 
well  as  for  chorus  and  orchestra.  The  best 
of  these,  "The  Tale  of  the  Viking,"  com- 
peted for  the  $1 ,000  prize  in  1880,  and  missed 
it  by  one  vote.  W.  is  an  original  and  ver- 
satile musician. 

■\t^hitlie.V.  Myron  W,,the  distinguished  basso, 
was  borq  in  Mass.,  in  1833.  His  magnificent 
voice  attracted  attention  as  early  as  1855. 
He  studied  in  Boston  and  afterward  spent 
sometime  abroad,  returning  to  this  country 
in  1868,  where  he  has  ever  since  held  the 
highest  rank  as  an  interpreter  of  the  bass 
roles  in  oratorio.  W.  is  in  every  wav  a  great 
singer,  and  an  artist  ol  the  highest  rank. 

'^Vie  (Ger.  ve).     How,  as. 

^Viodei"  (Ger.  ve -der).  Again,  anew,  a  second 
time. 

■\Viea"«*"lied    (Ger.   ve -ghen-leed).       Cradle 

S  Mlg. 

IViiid  Band.  A  band  of  wind  instruments — 
llutes,  oboes,  clarinets,  bassoons  and  the 
brass. 


IV'OOd.  The  "wood,"'  in  English  musical 
speech,  includes  all  wind  instruments  except 
the  brass. 

Kanipa.     Opera  by  Herold,  1831. 

Zettii'oso  (Ital.  zef-fe-ro'-zo). 

Zeielieil  (Ger.  tsi -k'nj.  A  musical  sign,  note, 
or  character. 

Zeltlliass  (Ger.  tsit -mass).     Time,  measure. 

Zerrahll.  Carl  (tzijr-rahn  ),  the  distinguished 
conductor,  was  borr.  in  Mecklenburg-Schwer- 
in,  in  1826.  Went  in  1848  to  London  with 
orchestra,  "  The  Germania  Musical  Sociely," 
gave  concerts  for  three  months,  then  they 
came  to  America  and  traveled  about  for  six 
years,  giving  concerts  all  over  the  U.  S.  and 
Canada.  Z,  settled  in  Boston  in  1S54,  was 
elected  conductor  of  the  Handel  and  Haydn 
Society,  which  position  he  has  held  ever 
since.  Is  also  conductor  of  Harvard  Sym- 
phony Concerts  since  their  beginning  in  1864, 
teacher  of  voice,  harmony  and  the  art  of 
conducting  in  the  N.  E.  Conservator}',  con- 
ducts the  annual  musical  Jestival  in  Worces- 
ter, and  various  other  musical  organizations. 

Zoegernd  (Ger.  tso-ghernd).  A  continual 
retarding  of  the  time. 

Ztl  (Ger.  tsoo)       At,  by,  in,  to,  unto. 

Zurneoklialtiins;  (Ger.  tsoo-riik-hal- 
toongV     Retarding,  keeping  back. 

Zuspieleit  (Ger.  tsoo-  spel'en).     To  play. 

Kwoillial   (Ger   tsvi  -mill)      Twice. 


ii  ale,  i  add^  a  arjn^  e  eve,  e  ettd.  i  ice,  i  /'//,  o  old,  o  odd,  o  dove,  00  moon,  u  hite,  u  but,  u  Fr.  sound 

82 


(appendix.) 


Synopsis  of   Pitch   Notation, 

{Prejyared  expressly  for  this  work.) 


SECTION  FIRST.     PITCH. 

Pitch  is  represented  by  the  lines  and  spaces  of  the  stafT.  These  arc  called  degrees.  There 
are.as  many  lines  and  spaces  used  as  there  are  diatonic  de^jrees  in  the  scale  of  the  music 
represented.  For  ordinary  use  the  staff  consists  of  five  lines  and  the  spaces  beloagiug  to 
them,  chosen  from  any  convenient  part  of  the  so-called  Gkeat  Staff  of  eleven  lines. 
Pitches  above  or  below  this  compass  are  represented  by  means  of  short  or  leger  lines,  and 
when  in  the  highest  or  lowest  pitches  these  leger  lines  become  too  numerous  to  be  easily 
recognized  by  the  eye,  the  abbreviation  8va is  employed,  as  shown  below  at  (  ZJ. ) 

GREAT  STAFF  OF  ELEVEN  LINES, 

Showing  the  relation  and  pitch  of  the  various  Cl^fs  and  Staves  used  in  Pianoforte  and  Vocal 
Music,  and  in  Orchrestral  Scores  ;  together  with  the  letters  indicating  absolute  pilch. 


f" 


Violin  or  Soprano 

Staff.  „„  -a" 

-Soprano-Staff.— f"-£- 


(['" 


Mezzo-Soi)r.  Staff'.— 


Base  staff' 


FF- 


Written.     (B) 
8i-a 


Played. 


CHROMATIC  SIGNS. 

The  chromatic  signs  are  the  J,  X,  b,  blj  and  fl.  The  sharp  J.  indicates  an  elevation  of  a  semi- 
tone ;  it  is  applied  only  to  natural  degrees  (see  a  below.)  The  double-sharp  X  or  -i-  indicates 
an  elevation  equal  to  two  Beinitones;  applied  to  "sharp"  degrees.  (Sec  i  below.)  The  Hat  b 
indicatef?  a  depression  equal  to  a  semitone;  applied  only  to  natural  degrees.  (See  c  below.; 
The  double  flat,  bfe,  indicates  a  depression  equal  to  two  semitones;  applied  only  to  flat  de- 
grees. (See  d  below.)  The  t],  restores  a  stafl'-dcgree  to  its  "natural"  condition  and  cancels 
any  of  the  previous  signs.  (See  e  below.)  In  restoring  a  single  sharp  or  flat  after  a  donble 
one,  it  is  necessary  to  use  a  natural  to  cancel  the  double  sharp  or  flat,  and  a  sharp  or  flat  to 
restore  the  degree  to  its  desired  condition.    (See  (.) 

83 


SYNOPSIS  OF  PITCH  J^OTATION. 


Written. 


i  J.,  - 


wmm^mm^mB^mm^ 


0 


(«)       {(^  ib)       if)  (c)  0  (/) 

SIGNATURES. 

Sharps  or  flats  placud  at  the  beginniug  to  indicate  the  Icey,  are  calletl  sigiiaturcB.  The 
sharps  or  Hats  so  placed  not  only  eflect  the  degrees  on  which  they  are  placed  throuj;h- 
out  the  stafl",  but  apply  also  to  the  octaves  above  and  belov?  on  the  same  stafT.  In  printed 
music  the  si?;naturQ  is  repeated  at  the  beginning  of  every  line.  In  manuscript  music  tlie 
clefs  and  signatures  are  frequently  omitted,  except  at  the  beginning  of  each  piece  or  page. 
Example  of  staves  with  signatures  and  names  of  staff-degrees. 

n        -C-Sharp,- 


ACCIDENTALS. 

1 .  An  accidental  alVccts  all  notes  following  it  on  the  same  statf  degree  in  the  same  measure 
0.  When  the  test  note  of  one  measure  is  affected  by  an  accidental  and  the  following  meas- 
ure begins  with  a  note  on  the  same  degree,  the  accidental  applies  to  that  note  also,  but  not 
to  any  that  occur  after  a  different  tone  has  intervened  in  the  same  voice. 

Written. 


?=*^i_ 


tP^=*-fr 


t: 


=-=i1^. 


■=~§'=±5^*z^!3^^=^ 


3.  Accidentals  are  played  as  written.  A  single  sharp  or  flat  on  a  note  already  sharped  or 
flatted  in  the  signature,  is  not  double-sliarped  or  flatted  by  the  single  accidental,  but  only 
singly,  the  accidental  having  been  introduced  for  precaution.     See  (g)  below. 


Written. 


liibbtfizi^ki^i 


Played. 


9 

-H- 

-— 1-  ■ 


_^_-i_. 


:t^izi*z:iz=— — : 


MARKS  OF  ABBREVIATION. 

In  order  to  save  space,  repetitious  of  groups  of  notes  are  sometimes  indicated  bj'  marks  of 
abbreviation,  as  at  k  above. 

ARPEGGIO. 

A  tremolaudo  efl'ect  in  cliords  is  indicated  by  bars  running  across  the  stems. 

A  waved  lino  liefore  chords  indicates  that  the  notes  are  to  be  played  successively,  begin 
ning  with  the  lowest  note  reached  by  the  waved  line,  and  not  together.  The  Arpeggio  begins 
at  the  time  of  the  chord,  and  the  tones  follow  each  other  very  rapidly,  and  generally  some- 
what ct'escendo  towards  the  last. 

?4 


MELODIC  EMBELLISlLMENTiS 


TIME  NOTATION. 

A  note  indicates  a  musical  utterance.  The  relative  length  or  duration  of  several  ntter- 
ances  in  connection,  is  represented  by  tlie  different  note-forms  which  are  named  whole  note, 
half,  quarter,  etc.  Every  note-form  has  a  rest  of  corresponding  value,  which  indicates  a 
silence  of  the  same  length.  A  dot  after  a  note  or  rest  adds  half  to  its  value.  A  second  d(jt 
adds  half  as  much  as  the  first,  so  that  two  dots  increase  the  value  of  the  note  by  three  quarters. 


Whole. 


Half. 


Quarter. 


NOTES  AND  RESTS. 

Sixteenth.     Thirty-second. 


Ei^'hth. 


-       r 


5 


? 


\ 


Sixty-fourth. 


•7 


Explanation  of  Melodic  Embellishments. 


Prepared  from  the  liest  authorities,  expressly  for  this  work. 

1.     THE  LONG  APPOGGIATURA. 

This  embellishment  consists  of  a  grace  note  which  takes  half  (a),  two-thirds  (6),  or  even 
the  whole  (c),  of  the  time  of  its  principal  as  shown  in  the  examples  following: 

a.  Long  appoggiatura  before  a  note        b.  Before  a  note  divisi-       c.  Before  a  note  to 
which  can  be  divided  into  blc  by  three,  (a  which  another 

two  equal  parts.  dotted  note.)  is  tied. 

A r> n-J H*^ -.-^- 


m^^ 


The  long  appoggiatura  is  now  usually  written  out  in  full  in  large  notes. 


2.    THE  SHORT  APPOGGIATURA. 

2.  The  short  Appoggiatura  is  a  grace  note  with  a  little  stroke  through  its  stem.    It  begins 
at  the  time  of  the  principal  note,  and  is  played  as  quickly  as  possible— (a,  6,  c.) 


Written. 

fv- 


-f2- 


f^  j_i_,_  J — • 0 


K 


-G>— 

-G 


I 


a.    Moderaio. 
Played. 


b.    Presto. 


before  double  notes. 


^^;-^^-.r,^^- 


>-^ 


;5.    AFTER  NOTES. 

After  notes  consist  of  one  or  more  grace  notes  Introduced  as  passing  or  changing  notes,  in 
passing  from  one  melody  note  to  another.  They  are  generally  connected  with  their  iirinci 
pal  note  by  a  slur,  and  never  fall  on  an  accent. 

8s 


MELODIC  EMBELLISHMENTS. 


Written. 


liit^ii^iPllsiSiH 


Plaved. 


h"^-J>- 


4.    DOUBLE  APPOGGIATURAS. 

Double  appoggiatnraa  consist  of  two  grace  uotea  preccediug  a  melody  uote.    They  begin 
at  the  proper  time  of  the  principal  note  (and  therefore  with  the  corresponding  Base  note), 
and  are  played  as  quickly  as  possible,  the  accent  falling  on  the  principal  note. 
Written. 


b.                             c. 
P—f- r-P—fg-r-M r^^ if»—i-i 


5.    THE  TURN,  OR  GRUPETTO. 

The  turn  consists  of  a  principal  note  and  two  auxiliary  notes,  above  and  below  respect- 
ively, which  may  be  a  whole  step  or  a  half  step  distant  from  the  principal.  Generally  the 
upper  auxiliary  is  the  next  tone  above  in  the  same  key,  and  the  lower  a  semitone  below  the 
principal.  When  the  upper  auxiliary  is  only  a  semitone  above  the  principal,  as  in  the  case 
of  turns  on  the  3rd  and  7th  degree  of  the  scale,  the  lower  auxiliary  is  played  diatonic,  and 
consequently  a  whole  step  below  the  principal,  in  order  to  avoid  the  misleading  chromatic 
effect  which  would  otherwise  be  produced.  On  the  .5th  degree  of  the  minor  scale,  the  lower 
auxiliary  is  played  chromatic.  The  turn  usually  comes  at  the  close  of  the  principal  note, 
as  at  a,  b  and  c  in  the  examples,  where  also  is  illustrated  the  use  of  accidentals  in  connec- 
tion with  the  turn-sign.  Sometimes,  however,  it  comes  at  the  beginning  of  a  note,  as  at  d, 
in  which  case  the  turn-sign  stands  directly  over  it.  With  dotted  notes  the  turn  comes  be- 
tween the  note  and  the  dot,  as  shown  at  e  and  /. 

C^  .11  «S5  ^  SSV 


OS 


mm 


.---I — p-,— »-,u^-, »-F-F-  i— wC----l^-^-r— 1 


mr^^ 


d 


0—ft- 

1 — 1— 


-#— ^ 


iHl 


6.    THE  MORDENT,  OR  BOUNDING  TRILL. 

These  two  embellishments  are  precisely  alike,  except  that  one  is  made  with  the  note  below 
the  principal,  and  the  other  with  the  note  above.  The  first  is  distinguished  by  the  vertical 
stroke  through  the  sign,  as  at  a,  below.  The  other,  also  called  Mordent  by  some,  and  Pralt 
trill  or  "Bounding  Trill"  by  others,  lacks  the  vertical  stroke  through  the  sign,  and  is  made 

86 


MELODIC   EMBELLISHx\IENTS. 


with  the  nolo  above.  The  same  cmhellislimeiit  is  Romctimcs  written  out  in  small  notes  a8 
at  e  Accordiii','  to  Di .  \Vm.  JIason  the  Prall-  Trill  should  be  accented  on  ihajirst  note  as  at 
d.    In  all  cases  the  embellishment  is  to  be  played  as  rapidly  as  possible. 


I^Ei^i=^^? 


g^=i^^3^i>=jr:^ 


.  A^   , 


-0 •- 


-=|^£ 


-qz::]zin::^=:-z:3 


d  According  to  jvlason.     e 

P     f 


P     f 


:it-i?=,=^ 


/witli  (lonlile  notes. 


7.    THE  TRILL. 

The  trill  consists  of  a  rapid  vibration  or  alternation  of  a  principal  note  and  the  next  above 
in  the  same  key.  A  vocal  trill  should  begin  somewhatdeliberately,  but  immediately  become 
rapid,  as  shown  at  a  below.  It  concludes  with  a  turn,  which,  however,  may  sometimes  be 
omitted  in  chain  trills.  Ou  the  pianoforte  a  long  trill  accompanied  by  a  melody  in  the 
same  hand,  may  omit  the  auxiliary  note  at  the  moment  of  sounding  the  melody,  in  order  to 
facilitate  the  passage,  as  shown  at  d.  It  is  of  the  greatest  importance  that  the  notes  of  the 
trill  should  be  of  equal  power.  At  the  start  the  auxiliary  may  be  accented.  Trills  should 
vibrate  at  a  uniform  speed,  after  the  motion  is  once  established,  and  in  some  definite  ratio 
to  the  time  of  the  passage. 

The  trill  begins  with  the  principal  note,  and  not  with  the  auxiliary,  although  the  contrary 
has  been  taught  by  eminent  masters,  and  is  sometimes  required  by  a  grace  note  as  at  b  and  c 
below. 


Written. 


^tr^ 


-<s>- 


^ 


:i^ 


■  G>— 


B 


mm 


a 

Perfiir;ned. 


EEEEE 


%'0«0f0f0*0'0,4 


\-*lht  0  ^  0*0^0  '- 


-  -t- 


0-0  0M-0t  #_-«._^3 

— ■ 


Presto  fr^ 


1 


-     r 


s^^ 


